A Shaksp 
Festival 



Sarah E. Simons 



Scott, Foresman and Company 

Chicago New York 



■■. 



A Shakspere Festival 



BEING 

A FANTASY OF MOCKERY AND MIRTH 

COMPOSED OF 

SCENES FROM VARIOUS PLAYS 



Presented by 

FIVE COMPANIES OF PLAYERS 

Before Queen Elizabeth and Her Court 

Time— AN APRIL DAY 
Place— THE OPEN 

Music and dance and revelry and song, 
Trip it and skip it with us all day long. 



BY 

SARAH E. SIMONS 

HEAD, DEPARTMENT OF ENGLISH, WASHINGTON, D. C, HIGH SCHOOLS 



SCOTT, FORESMAN AND COMPANY 
CHICAGO NEW YORK 






COPTP.IGHT, 1916, BY 

SCOTT, FOEESMAN AND COMPANY 



MAR 31 1916 

©CLA427490 



PREFATORY NOTE 

This little pageant was prepared for an all-high school Shak- 
spere celebration by the schools of Washington, D. C, of the 
tercentenary of Shakspere's death. It is to be presented by the 
five high schools of the city in the spring of 1916. 

Because of inquiries from out of town concerning our Shaks- 
pere festival and because of the fact that many teachers are too 
busy to plan their own celebrations, it was thought advisable to 
have our pageant printed. The publishers, Scott, Foresman 
and Company, have enabled us to realize our desire in this 
respect and to them we wish to extend our sincere thanks. It is 
hoped that the suggestions contained in the pageant may aid, 
though ever so little, in stimulating enthusiasm for the nation- 
wide tribute that is being paid this year to the genius of the 
greatest of all world-poets. 

There is included in this pamphlet an essay on Teaching 
Shaks-pere in Schools, by Dr. William Allen Neilson of Harvard 
University, a most sane and illuminating treatment of the sub- 
ject. Teachers of English will, I know, hail it as a timely contri- 
bution to Shaksperean discussion ; it will surely play its part in 
arousing interest in the study of Shakspere. 



CONTENTS 

Prefatory Note 3 

Setting 7 

Fairy Frolics (From A Midsummer Night's Dream) 10 

The Casting of the Charm 11 

The Working of the Charm 15 

The Release 16 

In Celebration of the Contract of True Love 18 

First Episode (From The Tempest) 18 

Second Episode (From As You Like It) 23 

The Merry War of Words 28 

First Episode (From The Taming of the Shrew) 29 

Second Episode (From Henry the Fifth) 35 

The Jolly Merchant Plies His Trade 39 

First Episode (From The Winter's Tale) 40 

Second Episode (From The Winter's Tale) 42 

Fun for Everyman 46 

First Episode (From Twelfth Night) 46 

Second Episode (From A Midsummer Night's Dream) . . 50 

Epilogue 57 

Teaching Shakspere in Schools Neilson 



A SHAKSPERE FESTIVAL 



SETTING 



[The scene presents the court of Queen Elizabeth assembled in the open. 
She sits enthroned in all her splendor; courtiers and ladies-in-waiting are 
grouped about her. At a blast of the trumpets the Herald enters and 
announces the coming of the Players.] 

Herald 

The Players come, my Queen, at thy command 

To do thy bidding. Revelry and mirth 

And Laughter holding both his sides, forsooth, 

Shall rule the festival prepared for thee. 

No note of sadness on this April day 

Shall mar the revels. All shall sing and dance. 

Five companies of Players gathered here 

In friendly rivalry, shall soon contend, 

And Shakspere leads them, — thy own Poet Will. 

His actors they, and they have learned to speak 

The speech quite trippingly upon the tongue. 

Thy Master of the Revels for the nonce, 

He "will present the Players each in turn, 

And each shall strive the other to out-do 

In merry making for our Faerie Queen. 

Content the Players and content are we 

If thou canst say, — our revels all complete, — 

A day in April never came so sweet! 

[A flourish of the trumpets is a signal for the entrance of the Players. 
There are five Companies, each led by its own Herald, who bears a standard 
displaying the name of the Company. Shakspere leads the procession and as 
Master of the Bevels takes his position near the Queen and presents each 
Company to her. The Players are singing characteristic Shakspere songs as 
they march in and circle round the field. After each in turn has been pre- 
sented to the Queen and the music has ceased, Shakspere steps forward and, 
addressing the Queen, speaks the Prologue.] 

7 



A SHAKSPERE FESTIVAL 



Prologue 

(Spoken by Shakspere) 

My Queen, and gentles all, 
I come once more to make you laugh. All things 
That bear a weighty and a serious brow 
Are banished. Scenes that make the lips to smile, 
The eyes to dance; music to glad the ear 
We shall present. And Prologue-like I now 
Will tell you fair beholders of our play. 
Oh, for a muse of fire that would ascend 
The highest heaven of invention! 
But pardon, Faerie Queen, and gentles all, 
Pardon my halting measure, fait 'ring speech, 
For needs must I essay i' th' name of Time 
To use my wings and on my passage swift 
Glide o'er the events of many comedies 
That you have heard before or first shall hear 
This day. — And some the world shall know 
*Only in after time. — My privilege 
To overthrow the law and in one hour 
Create a medley of as many tales 
As I shall choose to use. But only those 
Of revelry and mirth and happy thoughts, 
Such as are suited to the joyous spring 
Shall entrance gain into our festival. . 
Be glad as we would make you, think you see 
The very persons of our changing story 
As they were living; think you see them all: 
Call it a medley, call it what you will, 
Only forget your cares in laughter gay, 
Let mirth supreme rule all this April day. 

[Flourish of trumpets. The Companies take position and execute a 
dance.] 



* This accounts for the use of plays written after Queen Elizabeth's death. 



A SHAKSPERE FESTIVAL 



Prologue 

(Continuing) 

Now, gentles, by your leave, before the play 

I'll chronicle in brief the incidents 

"Which afterwards the actors will perform. 

Piece out our imperfections with your minds, 

For 'tis your thoughts that now must deck our scenes 

Shifting them here and there, jumping o'er time. 

Conjure your fancies until you behold 

Each scene in turn that fills this hour's illusion. 

Come, revel with the flitting fairy folk; 

And next enjoy the stately masque called forth 

To celebrate the contract of true love. 

See where the forest lovers all at last, 

With wedding bells and wedding song and dance 

Make merry, led by Kosalind the fair. 

Work, work you fancies, follow at our will, 

So shall you hear a merry war of words, 

And you shall learn how stubborn Kate must yield 

Obedience to her lord, Petruchio. 

Again shall you behold how charmingly 

King Henry plays the lover when in France. 

Next watch the jolly merchant ply his trade, — 

Laugh loud with him. Then listen to the tale 

Clever Maria has prepared for you 

At the expense of grave Malvolio, — " 

A scene hilarious and full of fun. 

Last shall you see how Pyramus and Thisbe 

Met their sad fate. And yet the manner of it 

Is mirth-provoking in its version new. 

The spirit of our play is bubbling o'er 

With fun for every man. Come gentles all, 

And sing with us the songs of Arcady, 

And dance with us a roundel at the close. 

The Court and Players for the nonce are one, 

Feeling the human touch of kith and kin. 

As Prologue now, my Queen, I say adieu, 

The Play begins, — the actors come in view. 



10 A SHAKSPERE FESTIVAL 



[Flourish of trumpets. The first Company of Players comes forward. 
The Herald presents the Players to Shakspere, announcing the name of the 
Company and the title of the Act. Shakspere then speaks the Chorus.] 



FAIRY FROLICS 

PRESENTED BY 

THE QUEEN'S PLAYEES 

Chorus (Spoken oy Sliakspere) 

Play with your fancies now, my gentles all, 

And in imagination then behold 

The frolics of the fairies on the green, 

The scene all flooded with the moon's pale light, 

And dainty figures flitting to and fro, 

While Puck skips in and out, the merry fellow! 

See where Titania leads her fairy folk 

In mazes of the ever-changing dance. 

Sweet music floats upon the ear; anon 

A fairy sings a song of wondrous charm. 

One discord only sounds, — 'tis when the King 

Chances upon his fairy Queen, and then 

A quarrel hot ensues, for each one claims 

Possession of a pretty changeling boy. 

At last the discord harsh resolves itself 

Into sweet harmony and all is well, 

By virtue of a trick King Oberon plays 

Upon his Queen, aided by Puck, his sprite. 

Midsummer is the night it now must seem 

And all the action gentles, but a dream! 



A SHAKSPERE FESTIVAL 11 

First Episode 
The Casting of the Charm 

FROM 

* A MIDSUMMEE NIGHT'S DREAM 

Act II, Scene I 
[A wood near Athens.} 

Enter a Fairy at one door and Robin Goodfellow at another. 
Robin. How now, spirit! whither wander you? 

Song 

Fai. Over hill, over dale, 

Thorough bush, thorough brier, 
Over park, over pale, 

Thorough flood, thorough fire, 5 

I do wander every where, 

Swifter than the moon's sphere; 
And I serve the fairy Queen, 
To dew her orbs upon the green. 

The cowslips tall her pensioners be; 10 

In their gold coats spots you see; 
Those be rubies, fairy favors, 
In those freckles live their savors. 13 

Either I mistake your shape and making quite, 32 

Or else you are that shrewd and knavish sprite 
Call'd Robin Goodfellow. Are not you he 

That frights the maidens of the villagery, 35 

Those that Hobgoblin call you, and sweet Puck, 40 

You do their work, and they shall have good luck. 
Are not you he? 
Robin. Thou speakest aright; 

I am that merry wanderer of the night. 
I jest to Oberon and make him smile 
When I a fat and bean-fed horse beguile, 45 



* The edition used is the Lake English Classics : Scott, Foresman and Com- 
pany. 



12 A SHAKSPERE FESTIVAL 

Neighing in likeness of a filly foal ; 
And sometime lurk I in a gossip 's bowl, 
In very likeness of a roasted crab, 
And when she drinks, against her lips I bob 

And on her withered dewlap pour the ale. 50 

The wisest aunt, telling the saddest tale, 

Sometime for three-foot stool mistaketh me, * 52 

But, room, fairy! here comes Oberon. 58 

Fai. And here my mistress. Would that he were gone! 

[Enter the King of Fairies (Oberon) at one door with his train; and 
the Queen (Titania\) at another with hers. (Both trains form for a dance. 
Dance.) ] 

Obe. Ill met by moonlight, proud Titania. 60 

Tita. What, jealous Oberon! Fairies, skip hence! 61 

Obe. Tarry, rash wanton! Am not I thy lord? 63 

Obe. Why should Titania cross her Oberon? 119 

I do but beg a little changeling boy 

To be my henchman. 
Tita. Set your heart at rest; 

The fairy land buys not the child of me. 

His mother was a votaress of my order, 

And, in the spiced Indian air, by night, 

Full often hath she gossip 'd by my side, 125 

And sat with me on Neptune's yellow sands, 

Marking the embarked traders on the flood, 127 

But she, being mortal, of that boy did die ; 135 

And for her sake do I rear up her boy, 

And for her sake I will not part with him. 
Obe. How long within this wood intend you stay? 
Tita. Perchance till after Theseus' wedding-day. 

If you will patiently dance in our round 140 

And see our moonlight revels, go with us ; 

If not, shun me, and I will spare your haunts. 
Obe. Give me that boy, and I will go with thee. 
Tita. Not for thy fairy kingdom. Fairies, away! 

We shall chide downright, if I longer stay. 145 

[Exit Titania with her train.] 

Obe. Well, go thy way; thou shalt not from this grove 
Till I torment thee for this injury. 
My gentle Puck, come hither. Thou rememb'rest 

[That] once I saw, but thou couldst not, 149, 155 

Flying between the cold moon and the earth, 156 



A SHAKSPERE FESTIVAL 13 

Cupid all arm'd. A certain aim he took 

At a fair vestal throned by the west, 

And loos'd his love-shaft smartly from his bow, 159 

[But] the imperial votaress passed on, 163 

In maiden meditation, fancy-free. 

Yet mark'd I where the bolt of Cupid fell. 

It fell upon a little western flower, 

Before milk-white, now purple with love's wound. 

And maidens call it love-in-idleness. 

Fetch me that flower, the herb I show'd thee once. 

The juice of it on sleeping eye-lids laid 170 

Will make or man or woman madly dote 

Upon the next live creature that it sees. 

Fetch me this herb ; and be thou here again 

Ere the leviathan can swim a league. 
Bobin. I'll put a girdle round about the earth 175 

In forty minutes. [Exit.'] 

Obe. Having once this juice, 

I'll watch Titania when she is asleep, 

And drop the liquor of it in her eyes. 

The next thing then she waking looks upon, 179 

She shall pursue it with the soul of love ; 182 

And ere I take this charm from off her sight, 183 

I'll make her render up her page to me. 185 

But who comes here? I am invisible. [Hides.] 

[Note. — The numbers of the lines here folloAv the numbers in Scene II of 
Act II.] 

[Enter Titania, with her train.] 

Tita. Come, now a roundel and a fairy song; 
Then, for the third part of a minute, hence; 
Some to kill cankers in the musk-rose buds, 
Some war with rere-mice for their leathern wings 

To make my small elves coats, and some keep back 5 

The clamorous owl that nightly hoots and wonders 
At our quaint spirits. Sing me now asleep; 
Then to your offices and let me rest. 

The Fairies Sing 

(1st Fairy) "You spotted snakes with double tongue, 

Thorny hedgehogs, be not seen ; 10 

Newts and blind-worms, do no wrong, 
Come not near our fairy queen." 



14 A SHAKSPERE FESTIVAL 

(Cho.) " Philomel, with melody 

Sing in our sweet lullaby; 
Lulla, lulla, lullaby; lulla, lulla, lullaby. 15 

Never harm, 

Nor spell nor charm, 
Come our lovely lady nigh. 
So, good night, with lullaby. ' ' 

(1st Fairy) "Weaving spiders, come not here; 
Hence, you long-legg'd spinners, hence! 
Beetles black, approach not near; 
Worm nor snail, do no offence." 

(Cho.) "Philomel, with melody," etc. 

(2d Fairy) Hence, away! now all is well. 25 

One aloof stand sentinel. 

[Exeunt Fairies. Titania sleeps. Oberon comes out of hiding and 
Eobin enters.] 

[Note. — The numbers of the lines here follow those of Scene I, Act I of 
text.] 

Obe. Hast thou the flower there? Welcome, wanderer. 246 

Eobin. Ay, there it is. 

Obe. I pray thee, give it me. 

[Here on this] bank where the wild thyme blows, 

Where oxlips and the nodding violet grows, 250 

Quite over-canopi'd with luscious woodbine, 

With sweet musk-roses and with eglantine. 

[Here] sleeps Titania [on midsummer 's] night — 

Lull'd in these flowers with dances and delight; 

And with the juice of this I'll streak her eyes, 257 

And make her full of hateful fantasies. 258 

[He squeezes the flower on Titania's eyelids.] 

[Note. — The numbers of the lines follow those of Scene II, Act I.] 

Obe. What thou seest when thou dost wake, 27 

Do it for thy true-love take, 
Love and languish for his sake. 

Be it ounce, or cat, or bear, 30 

Pard, or boar with bristled hair, 
In thy eye that shall appear 
When thou wak'st, it is thy dear. 
Wake when some vile thing is near. [Exit.] 



A SHAKSPERE FESTIVAL 15 

Second Episode 

The Working of the Charm 

[Act III, Scene II. Another part of the wood.] 

Enter Oberon. 

Obe. I wonder if Titania be awak'd; 

Then, what it was that next came in her eye, 
Which she must dote on in extremity. 

Enter Room Goodfellow. 

Here comes my messenger. 

How now, mad spirit! 

What night-rule now about this haunted grove? 5 

Robin. My mistress with a monster is in love. 

Near to her close and consecrated bower, 

While she was in her dull and sleeping hour, 

A crew of patches, rude mechanicals, 

That work for bread upon Athenian stalls, 

Were met together to rehearse a play 

Intended for great Theseus' nuptial-day. 

The shallowest thickskin of the barren sort, 

Who Pyramus presented in their sport, 

Forsook his scene and ent'red in a brake. 15 

When I did him at this advantage take, 

An ass's nole I fixed on his head. 

Anon his Thisby must be answered, 

And forth my mimic comes. 

When in that moment, so it came to pass, 33 

Titania wak'd and straightway lov'd an ass. 34 

Obe. This falls out better than I could devise. 35 

[Robin sings and dances, then exeunt both. 



16 A SHAKSPERE FESTIVAL 

Third Episode 

The Release 

[Act IV, Scene I] 

[Enter Eobin. Oberon discovered bending over Titania, who sleeps.] 

Obe. [Advancing.] Welcome, good Eobin. — 44 

[Titania 's] dotage I begin to pity: 46 

For meeting her of late behind the wood, 
Seeking sweet favors for [the] hateful fool, 
I did upbraid her and fall out with her; 

For she his hairy temples then had rounded 50 

With coronet of fresh and fragrant flowers; 

When I had at my pleasure taunted her 56 

And she in mild terms begg'd my patience, 
I then did ask of her her changeling child; 
Which straight she gave me, and her fairy sent 

To bear him to my bower in fairy land. 60 

And, now I have the boy, I will undo 

This hateful imperfection of her eyes; 62 

[And now] I will release the fairy queen. 69 

[Touching her eyes.] 

Be as thou wast wont to be; 70 

See as thou wast wont to see; 
Dian's bud o'er Cupid's flower 
Hath such force and blessed power. 
Now, my Titania; wake you, my sweet queen. 

[Exit Eobin.] 

Tita. My Oberon! what visions have I seen! 75 

Methought I was enamor'd of an ass. 
Obe. [And so you were.] 
Tita. How came these things to pass! 

O how mine eyes do loathe his visage now! 
Obe. Silence awhile. 

Titania, music call. 80 

Tita. Music, ho! music, such as charmeth sleep! 82 

(Music, still) 



A SHAKSPERE FESTIVAL 17 

Obe. Sound, music! Come, my queen, take hands with me, 84 

Now thou and I are new in amity 86 

And will tomorrow midnight solemnly 
Dance in Duke Theseus' house triumphantly 
And bless it to all fair prosperity. 

[Note. — The rest of the scene is interpolated.] 

[Be-enter Bobin leading Changeling Boy.~\ 

So let us listen to our changeling boy; 
Salute the lark, the messenger of day, 
And afterwards we'll all join hands together 
And dance a merry roundel with our sprites, 
To celebrate our union once again. 

Song 

"Hark, hark, the lark." 

(Sung by the changeling boy) 

[He may be made the center of the dancers' rings, — first of Oberon's 
train, then of Titania's, then of a large circle made of all the fairies.] 

As they dance they sing over and over again: 

Come dance, and dancing let us sing a measure, 
In honor of the changeling boy our treasure. 

Hand in hand with fairy grace, 

Will we sing and bless this place, 

Sing and danee it trippingly, 

,Celebrate it fittingly; 

Trip away, make no stay, 

Meet me all by break of day. 

[Exeunt] 



18 A SHAKSPERE FESTIVAL 



II. 

[Flourish of trumpets. The second Company of Players comes for- 
ward. The Herald presents the Players to Shakspere, announcing the name 
if the Company and the title of the Act. Shalcspere then speaks the Chorus.] 



IN CELEBRATION OF THE CONTRACT OF TRUE LOVE 

PRESENTED BY 

THE GLOBE PLAYEES. 

First Episode 

A Masque in Honor of the Union of Ferdinand and Miranda 

Chorus. (Spoken by Shakspere.) 

Now with imagined wing our swift scene flies 
In motion of no less celerity 
Than that of thought. — An island shore appears 
And here has Prospero with potent charm 
Called forth his spirits for a stately masque 
To celebrate the contract of true love 
Between his daughter and Prince Ferdinand. 
Juno and Ceres shower blessings rich 
Upon the happy pair; soft music plays; 
Slim nymphs and reapers gay in graceful dance 
Honor the lovers on this gladsome day. 
Lo ! See the actors ; Chorus says no more 
Until these pretty fantasies are o'er. 

*THE TEMPEST 

Act IV, Scene I 

[Before Prosperous Cell.~\ 

Enter Prospero, Ferdinand, and Miranda. 

Pros. If I have too austerely punish 'd you, 
Your compensation makes amends, for I 
Have given you here a third of mine own life, 

* The edition used is the Lake English Classics : Scott, Foresman and Com- 
pany. 



A SHAKSPERE FESTIVAL 19 

Or that for which I live; [O Ferdinand,] 4, 8 

Do not smile at me that I boast her off, 9 

For thou shalt find she will outstrip all praise 10 

And make it halt behind her. 

Per. I do believe it 

Against an oracle. 

Pros. Then, as my gift and thine own acquisition 

Worthily purchas'd, take my daughter. [Come,] 14 

Sit then and talk with her; she is thine own. 32 

(Song behind scenes — "Where the Bee Suclcs.") Interpolated. 

What, Ariel! my industrious servant, Ariel! 33 

Enter Ariel. 

Ari. What would my potent master? Here I am. 34 

Pros. Go bring the rabble, 37 

O'er whom I give thee power, here to this place. 

Incite them to quick motion; for I must 

Bestow upon the eyes of this young couple 40 

Some vanity. of mine art. It is my promise, 

And they expect it from me. 
Ari. Presently ? 

Pros. Ay, with a twink. 
Ari. Before you can say "come" and "go," 

And breathe twice and cry "so, so," 45 

Each one, tripping on his toe, 

Will be here with mop and mow. 

Do you love me, master? no? 
Pros. Dearly, my delicate Ariel. Do not approach 

Till thou dost hear me call. 50 

Ari. Well, I conceive. 

Pros. Look thou be true: Exit. 51 

Fer. I warrant you, sir. 54 

Pros. Well. [Walks to one side.] 

[Note. — Lines 37 through 90 are taken from Act III, Scene I.] 

Fer. Admir'd Miranda! 37 

Indeed the top of admiration! worth 38 

What's dearest to the world! Full many a lady 39 
I have ey 'd with best regard ; for several virtues 40, 42 

Have I lik'd several women; 43 

but you, O you, 46 

So perfect and so peerless, are created 47 
Of every creature's best! 



20 A SHAKSPERE FESTIVAL 

Mir. I do not know 48 

More that I may call men than you, good friend, 51 

And my dear father: 52 

but, by my modesty, 53 

The jewel in my dower, I would not wish 

Any companion in the world but you, 55 

Fer. The very instant that I saw you, did 64 

My heart fly to your service ; there resides, 

To make me slave to it. 66 

Mir. Do you love me? 67 

Fer. O heaven, O earth, bear witness now, [that I] 68 

Beyond all limit of what else i' the world 72 

Do love, prize, honor you. 
Mir. I am your wife, if you will marry me; 83 

If not, I'll die your maid; to be your fellow 

You may deny me ; but I '11 be your servant, 85 

Whether you will or no. 
Fer. My mistress, dearest; 

And I thus humble ever. 
Mir. My husband, then? 

Fer. Ay, with a heart as willing 

As bondage e'er of freedom; here's my hand. 
Mir. And mine, with my heart in 't. 90 

[Note. — The following lines are taken from Act IV, Scene I.) 

(Song behind scenes — "Where the Bee Sucks.") 
[Enter Ariel.] 

Pros. Now come, my Ariel ! Appear, and pertly ! 57, 58 

No tongue! all eyes! be silent. [Soft music] 

[Enter Iris.] 

Iris. Ceres, most bounteous lady, thy rich leas 60 

Of wheat, rye, barley, vetches, oats, and pease; 61 

Ceres, most bounteous lady, the queen o ' the sky, 60, 70 

Whose watery arch and messenger am I, 71 

Bids thee leave these, and with her sovereign grace Juno 

Here on this grass-plot, in this very place, descends 

To come and sport: her peacocks fly amain: 
Approach, rich Ceres, her to entertain. 75 

[Enter Ceres.] 

Cer. Hail, many-colored messenger, oh hail, 76 

Who with each end of thy blue bow dost crown 78 

My bosky acres and my unshrubb'd down, 81 



A SHAKSPERE FESTIVAL 21 

Rich scarf to my proud earth; why hath thy queen 82 

Summon 'd me hither, to this short-grass 'd green? 
Iris. A contract of true love to celebrate; 

And some donation freely to estate 85 

On the best lovers. 86 

Cer. Highest queen of state, 101 

Great Juno, comes; I know her by her gait. 102 

[Enter Juno.] 

Juno. How does my bounteous sister? Go with me 103 

To bless this twain, that they may prosperous be. 104 

[They sing.] 
Juno. Honor, riches, marriage-blessing, 106 

Long continuance, and increasing, 

Hourly joys be still upon you! 

Juno sings her blessings on you. 
Cer. Earth's increase, foison plenty, 110 

Barns and garners never empty, 

Vines with clustering bunches growing, 

Plants with goodly burthen bowing. 

Spring come to you at the farthest 

In the very end of harvest! 115 

Scarcity and want shall shun you; 

Ceres' blessing so is on you. 
Fer. This is a most majestic vision, and 

Harmonious charmingly. May I be bold 

To think these spirits? 
Pros. Spirits, which by mine art 120 

I have from their confines call'd to enact 

My present fancies. 
Fer. Let me live here ever; 

So rare a wond'red father and a wife 

Makes this place Paradise. 124 

Pros. Sweet, now, silence! 

Juno and Ceres whisper seriously ; 125 

There's something else to do: hush, and be mute, 

Or else our spell is marr'd. 

[Juno and Ceres whisper, and send Iris on employment.] 

Iris. You nymphs, call'd Naiads, of the winding brooks, 
With your sedg'd crowns and ever -harmless looks, 
Leave your crisp channels and on this green land 130 

Answer your summons; Juno does command. 
Come, temperate nymphs, and help to celebrate 
A contract of true love; be not too late. 



22 A SHAKSPERE FESTIVAL 

lEnter certain Nymphs.] 

You sunburnt sicklemen, of August weary, 

Come hither from the furrow and be merry: 135 

Make holiday; your rye-straw hats put on 

And these fresh nymphs encounter every one 

In country footing. 

[Enter certain Reapers, properly habited: they join with the Nymphs in a 
graceful dance.] 

Pros. [To the Spirits] Well done! avoid; 142 

No more! 

[To Ferdinand] These our actors, 148 

As I foretold you, were all spirits and 

Are melted into air, into thin air: 150 

And, like the baseless fabric of this vision, 
The cloud-capp 'd towers, the gorgeous palaces, 
The solemn temples, the great globe itself, 
Yea, all which it inherit, shall dissolve 

And, like this insubstantial pageant faded, 155 

Leave not a rack behind. We are such stuff 
As dreams are made on, and our little life 
Is rounded with a sleep. . . . 

[Exeunt] 



A SHAKSPERE FESTIVAL 23 



[Flourish of trumpets. Shdkspere steps forward and spealcs Chorus to 
Second Episode.] 



Second Episode 

Eight Votaries of Hymen Join Hands 

Chorus. (Spoken by ShaTcspere.) 

Turn back your fancies, oh, my gentles all, 
And in imagination now set sail 
Across the seas. Sail on until you land 
In merrie England once again, my Queen! 
Transport yourselves, quick, quick without delay 
Unto the charmed spot where Bosalind, 
Within the spaces of her forest-realm 
Has called to her the woodland lovers, true. 
Disguised as yet, she promises each one 
For his romance a happy consummation; 
Then in a flash she vanishes from view. — 
Anon she reappears in wedding robes; 
A part she plays no more. — Now look! 
'Tis Hymen leads her where Orlando stands; 
'Tis Hymen now holds center of the stage. 
He joins in marriage all the lovers fond, 
And things fall out as Eosalind foretold. 
With wedding bells and wedding song and dance 
We seal this time the contract of true love. 
Picture the woodland scene, oh, gentles, pray, 
Enjoy the revels of this wedding day! 

*AS YOU LIKE IT 

Act V, Scene III. 

[The Forest.] 

[Enter Touchstone and Audrey.] 

Touch. Tomorrow is the joyful day, Audrey; tomorrow will we be married. 
Aud. I do desire it with all my heart. 

Here come two of the banish 'd duke's pages. 

* The edition used is the Lake English Classics : Scott, Foresman and Com- 
pany. 



24 A SHAKSPERE FESTIVAL 

[Enter two Pages.'] 

First Page. Well met, honest gentlemen. 
-Touch. By my troth, well met. Come, sit, sit, and a song. 

Sec. Page. We are for you: sit i' the middle. 10 

First Page. Shall we clap into't roundly? 11 

Sec. Page. I 'faith, i 'faith; and both in a tune, like two gipsies on a 14 

horse. 15 

Song. 

It was a lover and his lass, 

With a hey, and a ho, and a hey nonino, 

That o'er the green corn-field did pass 

In spring-time, the only pretty ring-time, 20 

When birds do sing, hey ding a ding, ding: 

Sweet lovers love the spring. 

Between the acres of the rye, 

With a hey, and a ho, and a hey nonino, 

These pretty country-folk would lie 25 

In spring-time, etc. 

This carol they began that hour, 
With a hey, and a ho, and a hey nonino, 
How that a life was but a flower 
In spring-time, etc. 

And therefore take the present time, 30 

With a hey, and a ho, and a hey nonino; 
For love is crowned with the prime 
In spring-time, etc. 

Touch. Truly, young gentlemen, though there Avas no great matter in 

the ditty, yet the note was very untuneable. 35 

First Page. You are deceived, sir: we kept time, we lost not our time. 

Touch. By my troth, yes; I count it but time lost to hear such a foolish 

song. God buy you; and God mend your voices! — Come, 40 
Audrey. 

[They walk to side as the others enter.] 
[Behind the scenes — Song — "Under the Greenwood Tree."] 



A SHAKSPERE FESTIVAL 25 

[Enter Duke senior, Amiens, Jaques, Orlando, Oliver, and Celia.] 
[Note. — The following lines are taken from Act V, Scene IV.] 

Duke S. Dost thou believe, Orlando, that the boy- 
Can do all this that he hath promised? 

Orl. I sometimes do believe, and sometimes do not ; 
As those that fear to hope, and know they fear. 

[Enter Bosalind, Silvius, and Phebe.] 

Bos. Patience once more, whiles our compact is urged. — ' 5 

[To the Duke] You say, if I bring in your Kosalind, 

You will bestow her on Orlando here? 
Duke S. That would I, had I kingdoms to give with her. 8 

Bos. [To Phebe] You say, you'll marry me, if I be willing? 11 

Phe. That will I, should I die the hour after. 
Bos. But if you do refuse to marry me, 

You '11 give yourself to this most faithful shepherd ? 
Phe. So is the bargain. 15 

Bos. [To Silvius] You say, that you'll have Phebe, if she will? 
Sil. Though to have her and death were both one thing. 
Bos. I have promised to make all this matter even. 

Keep you your word, O Duke, to give your daughter: 20 

You yours, Orlando, to receive his daughter; 

Keep your word, Phebe, that you'll marry me, 

Or else, refusing me, to wed this shepherd; 

Keep your word, Silvius, that you '11 marry her, 

If she refuses me: — and from hence I go, 

To make these doubts all even. 25 

[Exeunt Bosalind and Celia.] 

Duke S. I do remember in this shepherd boy 26 

Borne lively touches of my daughter's favor. 27 

Orl. But, my good lord, this boy is forest-born. 30 

Jaq. Here comes a pair of very strange beasts, which in all tongues 37 

are called fools. 38 

[Touchstone and Audrey approach.] 

Touch. Salutation and greeting to you all! 39 

Jaq. Good, my lord, bid him welcome: this is the motley-minded 40 

gentleman that I have so often met in the forest : he hath been 

a courtier, he swears. 
Touch. If any man doubt that, let him put me to my purgation. I 

have trod a measure; I have had four quarrels, and like to 45 

have fought one. 48, 49 

Jaq. And how was that ta'en up? 50 



26 A SHAKSPERE FESTIVAL 

Touch. Faith, we met, and found the quarrel was upon the seventh 

cause. 
Jaq. How, the seventh cause? — Good, my lord, like this fellow. 53 

Duke S. I like him very well. 55 

Touch. God 'ild you, sir ; I press in here, sir, amongst the rest of the 
country copulatives, to swear and to forswear, according as 
marriage binds and blood breaks. A poor virgin, sir, an ill- 
favor 'd thing, sir, but mine own; a poor humor of mine, 61 
sir, to take that that no man else will. 
Duke S. By my faith, he is very swift and sententious. 65 

Jaq. But, for the seventh cause, — How did you find the quarrel on 

the seventh cause? 70 

Touch. I will name you the degrees. The first,, the Retort Courteous; 99 
the second, the Quip Modest; the third, the Reply Churlish; the 
fourth, the Reproof Valiant; the fifth, the Countercheck Quar- 
relsome ; the sixth, the Lie with Circumstance ; the seventh, the 
Lie Direct. All these you may avoid, but the Lie Direct; 105 
and you may avoid that, too, with an If, as, ''If you said so, 110 
then I said so. ' ' Your If is the only peacemaker ; much virtue 
in If. 
Jaq. Is not this a rare fellow, my lord? he's as good at any thing, 

and yet a fool. [Come, a dance.] 114 

[Song behind the scenes — "Under the Greenwood Tree."] 

[Foresters dance.] 

[Enter Hymen, Rosalind, and Celia.] 

[Still music] 
Hym. Then is there mirth in heaven, 118 

When earthly things made even 

atone together. 120 

Good Duke, receive thy daughter. 
Hymen from heaven brought her, 

Yea, brought her hither, 
That thou mightest join her hand with his 

Whose heart within her bosom is. 125 

Bos. [To the Duke] To you I give myself, for I am yours. 

[To Orlando] To you I give myself, for I am yours. 
Duke S. If there be truth in sight, you are my daughter. 
Orl. If there be truth in sight, you are my Rosalind. 
Phe. If sight and shape be true, 130 

Why, then, — my love adieu! 
Ros. I'll have no father, if you be not he; 
I'll have no husband, if you be not he; 
Nor ne'er wed woman, if you be not she. 



A SHAKSPERE FESTIVAL 27 

Uym. Peace, ho! I bar confusion. 135 

'Tis I must make conclusion 
Of these most strange events. 
Here's eight that must take hands 
To join in Hymen's bands, 

If truth holds true contents. 140 

You and you no cross shall part ; 
You and you are heart in heart; 
You to his love must accord, 
Or have a woman to your lord; 

You and you are sure together, 145 

As the winter to foul weather. 
Whiles a wedlock-hymn we sing, 
Feed yourselves with questioning; 
That reason wonder may diminish, 
How thus we met, and these things finish. 150 

Song. 

Wedding is great Juno's crown 

Oh blessed bond of board and bed! 

'Tis Hymen peoples every town ; 

High wedlock, then, be honored. 

Honor, high honor, and renown, 155 

To Hymen, god of every town! 

Duke S. O my dear niece, welcome thou art to me, 

Even daughter-welcome, in no less degree. 
Phe. I will not eat my word, now thou art mine; 

Thy faith my fancy to thee doth combine. 160 

Duke S. [Now] fall into our rustic revelry. 187 

Play, music! — and you, brides and bridegrooms all, 
With measure heaped in joy, to the measures fall. 

[Wedding dance.] 
[Exeunt] 



28 A SHAKSPERE FESTIVAL 



III. 

[Flourish of trumpets. The Herald presents the third Company of 
Players to ShaJcspere, announcing the name of the Company and the title 
of the Act. ShaJcspere then speaks the Chorus to the First Episode.] 



THE MERRY WAR OF WORDS 

PRESENTED BY 

THE COMPANY OF BURBAGE 

First Episode 

Petruchio Tames Kate 

Chorus. (SpoTcen by Shakspere.) 

With winged heels as English Mercuries 

Fly with us now to sunny Italy 

Enter Baptista's villa; hear the noise, 

See how his daughter Kate the household rules! 

The servants of her will are one and all: 

So has it been. But hark, her rule shall end! 

Already on the road Petruchio comes 

To woo this maiden and to tame her spirit. 

The manner of it shall this scene reveal. 

Now listen to their merry war of words, 

Then note how Kate, the proud, is quickly changed 

To Kate, the gentle, Katharina, meek. 

A transformation so complete, we wonder 

If it is not a ruse upon her part 

To conquer him, her master and her lord. 

Of taming Kate, he's surely had his fill. — 

Think this, think that, my gentles, as you will! 



A SHAKSPEEE FESTIVAL 29 

THE TAMING OF THE SHKEW 
Act II, Scene I. 
I. The Proposal. 

Baptista Discovered. 

[Enter Gremio, with Lucentio in fixe habit of a mean man; Petruchio, 
with Hortensio as a musician; and Tranio, with Biondello bearing a lute and 
books.] 

Gre. Good morrow, neighbor Baptista. 

Bap. Good morrow, neighbor Gremio. God save you, gentlemen! 

Pet. And you, good sir ! Pray, have you not a daughter 

Call'd Katharina, fair and virtuous? 
Bap. I have a daughter, sir, call'd Katharina. 
Gre. You are too blunt: go to it orderly. 
Pet. You wrong me, Signior Gremio: give me leave. — 

I am a gentleman of Verona, sir, 

That, — hearing of her beauty and her wit, 

Her affability and bashful modesty, 

Her wondrous qualities and mild behavior, — 

Am bold to show myself a forward guest 

Within your house, to make mine eye the witness 

Of that report which I so oft have heard. 
Bap. You 're welcome, sir ; and he, for your good sake. 

But for my daughter Katharine, — this I know, 

She is not for your turn, the more my grief. 
Pet. I see you do not mean to part with her; 

Or else you like not of my company. 
Bap. Mistake me not; I speak but as I find. 

Whence are you, sir? what may I call your name? 
Pet. Petruchio is my name ; Antonio 's son, 

A man well known throughout all Italy. 
Bap. I knew him well ; you 're welcome for his sake. 
Pet. Signior Baptista, my business asketh haste, 

And every day I cannot come to woo. 

Then tell me, — if I get your daughter's love, 

What dowry shall I have with her to wife? 
Bap. After my death, the one half of my lands; 

And, in possession, twenty thousand crowns. 

But when the special thing is well obtain 'd, 

That is, her love; for that is all in all. 



30 A SHAKSPERE FESTIVAL 

Pet. Why, that is nothing; for I tell you, father, 

I am as peremptory as she proud-minded; 

For I am rough, and woo not like a babe. 
Bap. Well mayst thou woo, and happy be thy speed! 

But be thou arm'd for some unhappy words. 
Pet. Ay, to the proof; as mountains are for winds, 

That shake not, though they blow perpetually. 
Bap. Signior Petruchio, will you go with us, 

Or shall I send my daughter Kate to you? 
Pet. I pray you do; I will attend her here, — 

[Exeunt Baptista, Gremio, Tranio, and Hortensio] 

And woo her with some spirit when she comes. 

Say that she rail; why, then I'll tell her plain, 

She sings as sweetly as a nightingale: 

Say that she frown; I'll say, she looks as clear 

As morning roses newly wash'd with dew: 

Say she be mute and will not speak a word; 

Then I '11 commend her volubility, 

And say she uttereth piercing eloquence: 

But here she comes; and now, Petruchio, speak. — 

[Enter Katliarina.] 

Good morrow, Kate; for that's your name, I hear. 

Kath. Well have you "heard, but something hard of hearing: 
They call me Katharine that do talk of me. 

Pet. You lie, in faith; for you are call'd plain Kate, 
And bonny Kate, and sometimes Kate the curst; 
Take this of me, Kate of my consolation: 
Hearing thy mildness praised in every town, 
Thy virtues spoke of, and thy beauty sounded, — 
Myself am moved to woo thee for my wife. 

Kath. Moved! in good time; let him who moved you hither 
Remove you hence. 

Pet. Nay, come, Kate, come; you must not look so sour. 

Kath. It is my fashion when I see a crab. 

Pet. Why, here's no crab; and therefore look not sour. 

Kath. There is, there is. 

Pet. Then show it me. 

Kath. Had I a glass I would. 

Pet. What, you mean my face? 

Kath. Well aim'd of such a young one. [Starts to go.] 

Pet.. Nay, hear you, Kate: in sooth, you 'scape not so. 

Kath. I chafe you, if I tarry: let me go. 



A SHAKSPERE FESTIVAL 31 

Pet. No, not a whit: I find you passing gentle. 

'Twas told me you were rough, and coy, and sullen, 

And now I find report a very liar; 

For thou art pleasant, gamesome, passing courteous; 

But slow in speech, yet sweet as spring-time flowers: 

Thou canst not frown, thou canst not look askance, 

O, let me see thee walk: thou dost not halt. 
Rath. Where did you study all this goodly speech? 
Pet. It is extempore, from my mother-wit. 
Kath. A witty mother! witless else her son. 
Pet. Am I not wise? 
Kath. Yes. 
Pet. Your father hath consented 

That you shall be my wife; your dowry 'greed on; 

And, will you, nill you, I will marry you. 

Now, Kate, I am a husband for your turn; 

For I am he am born to tame you, Kate, 

And bring you from a wild Kate to a Kate 

Comformable, as other household Kates. 

Here comes your father: never make denial; 

I must and will have Katharine for my wife. 

[Be-enter Baptista, Gremio, Tranio, and others. - ] 
Bap. Now, Signior Petruchio, how speed you with 

My daughter? 
Pet. How but well, sir? how but well? 

It were impossible I should speed amiss. 
Bap. Why, how now, daughter Katharine! in your dumps? 
Kath. Call you me daughter? Now, I promise you 

You've show'd a tender fatherly regard, 

To wish me wed to one half lunatic; 

A mad-cap ruffian and a swearing Jack, 

That thinks with oaths to face the matter out. 
Pet. Father, 'tis thus: Yourself and all the world 

That talk 'd of her, have talk 'd amiss of her : 

For she's not froward, but modest as the dove; 

She is not hot, but temperate as the morn; 

And, to conclude, we've 'greed so well together, 

That upon Sunday is the wedding-day. 
Kath. I'll see thee hang'd on Sunday first. 
Gre. Hark, Petruchio; she says she'll see thee hang'd first. 
Pet. Be patient, gentlemen; I choose her for myself: 

If she and I be pleased, what's that to you? 

I tell you, 'tis incredible to believe 

How much she loves me: O, the kindest Kate! 



32 A SHAKSPERE FESTIVAL 

Bap. I know not what to say: but give me your hands; 

God send you joy, Petruchio! 'tis a match. 
Tra. Amen, say we: we will be witnesses. 
Pet. Father, and wife, and gentlemen, adieu; 

I will to Venice; Sunday comes apace: — 

We will have rings, and things, and fine array; 

And kiss me, Kate; we will be married o' Sunday. 

[Exeunt Petruchio and Katharina severally, others join in mocking dance.] 



II. Tamed! 

Act IV, Scene V. 

A Public Eoad. 

[Enter Petruchio, Katharina, and Hortensio.] 

Pet. Come on, o' God's name; once more toward our father's. 

Good Lord, how bright and goodly shines the moon! 
Kath. The moon! the sun: it is not moonlight now. 
Pet. I say it is the moon that shines so bright. 
Kath. I know it is the sun that shines so bright. 
Pet. Now, by my mother's son, and that's myself, 

It shall be moon, or star, or what I list, 

Or e 'er I journey to your father 's house. — 
Hor. [Aside to Katharine.] Say as he says, or we shall never go. 
Kath. Forward, I pray, since we have come so far, 

And be it moon, or sun, or what you please: 

And if you please to call it a rush-candle, 

Henceforth I vow it shall be so for me. 
Pet. I say it is the moon. 
Kath. I know it is the moon. 
Pet. Nay, then, you lie: it is the blessed sun. 
Kath. Then, God be bless 'd, it is the blessed sun: 

But sun it is not, when you say it is not; 

And the moon changes, even as your mind. 

What you will have it named, even that it is; 

And so it shall be still for Katharine. 
Hor. [Aside.] Petruchio, go thy ways; the field is won. 
Pet. Well, forward, forward! thus the bowl should run. [Exeunt.] 



A SHAKSPERE FESTIVAL 33 

Act V, Scene I. 

[Enter Baptista, Vincentio, Gremio, Lucentio, Petruchio, Hortensio, Tranio, 
Biondello, Grumio, and others, attending, discovered.] 

Bap. Now, in good sadness, son Petruchio, 

I think thou hast the veriest shrew of all. 
Pet. Well, I say no: and therefore, for assurance, 

Let's each one send unto his wife; 

And he who's wife is most obedient 

To come at first when he doth send for her, 

Shall win the wager which we will propose. 
Hot. Content. What is the wager? 
Luc. Twenty crowns. 

Pet. Twenty crowns! 

I'll venture so much of my hawk or hound, 

But twenty times so much upon my wife. 
Luc. A hundred, then. 
Hor. Content. 

Pet. A match ! 'tis done. 

Hor. Who shall begin? 
Luc. That will I.— 

Go, Biondello, bid your mistress come to me. 
Bion. I go. [Exit.'} 

Bap. Son, I will be your half, Bianca comes. 
Luc. I'll have no halves; I'll bear it all myself. — 

[Ee-enter Biondello.] 

How now! what news? 
Bion. Sir, my mistress sends you word 

That she is busy, and she cannot come. 
Pet. How ! she is busy, and she cannot come ! 

Is that an answer? 
Gre. Ay, and a kind one, too: 

Pray God, sir, your wife send you not a worse. 
Pet. I hope, a better. 
Hor. Sirrah Biondello, go and entreat my wife 

To come to me forthwith. [Exit Biondello.] 

Pet. O, ho! entreat her! 

Nay, then she must needs come. 
Hor. I am afraid, sir, 

Do what you can, yours will not be entreated. — 

[Ee-enter Biondello.] 
Now, where's my wife? 



34 



A SHAKSPERE FESTIVAL 



[Exit Grumio.] 



[Exit Katharina.] 



Bion. She says you have some goodly jest in hand: 

She will not come ; she bids you come to her. 
Pet. Worse and worse ; she will not come ! O vile, 

Intolerable, not to be endured! — 

Sirrah Grumio, go to your mistress; 

Say, I command her come to me. 
Hor. I know her answer. 
Pet. What? 

Hor. She will not. 

Pet. The fouler fortune mine, and there an end. 
Bap. Now, by my halidom, here comes Katharina! 

[Enter Katharina.] 

Kath. What is your will, sir, that you send for me? 
Pet. Where is your sister, and Hortensio's wife? 
Kath. They sit conferring by the parlor fire. 
Pet. Go fetch them hither: 

Away I say, and bring them hither straight. 
Luc. Here is a wonder, if you talk of wonders. 
Hor. And so it is: I wonder what it bodes. 
Pet. Marry, peace it bodes, and love and quiet life, 

An awful rule, and right supremacy; 

And, to be short, what not that's sweet and happy? 
Bap. Now, fair befall thee, good Petruchio! 

The wager thou hast won. 
Pet. Nay, I will win my wager better yet, 

And show more sign of her obedience, — 

See, where she comes, and brings your froward wives 

As prisoners to her womanly persuasion. — 

[Pie-enter Katharina with Bianca and Widow.'] 

Kath. [Kneels before her husband.] 

I am ashamed that women are so simple 

To offer war, where they should kneel for peace; 

Or seek for rule, supremacy, and sway, 

When they are bound to serve, love, and obey. 
Pet. Come, Kate, now come, for all is done and said, 

We three are married, but you two are sped. — 

[To Lucentio.] 'Twas I won the wager, though you hit the white; 

And, being the winner, God give you good night! 

[Exeunt Petruchio and Katharina.] 



A SHAKSPERE FESTIVAL 35 



[Flourish. Shakspere comes forward and speaks the following Chorus.] 

Second Episode 

King Henry Woos Katharine of France 

Chorus. [Spoken by Shakspere.] 

And now to France shall we convey you safe, 
E'en to the palace of the King and Queen, 
And thence to Princess Katharine. 
Henry, the soldier bold, stands all abashed 
In presence of fair Katharine of France. 
Her gentlewoman only witnesses 
The words that pass between them at this time; 
But we shall hear how charmingly the King 
Woos the shy Princess in his broken French. 
His English blunt, is all unmeet to express 
What he would say; nor can his halting French. 
And she in turn can but reveal in part 
Her feelings through her tongue; she falters, too. 
One language only both can understand 
The language of the heart; and so it falls 
That finally they meet on common ground, 
The ground that lovers true are wont to tread ; 
Betrothed they are when all is done and said. 
Hark to their converse, it will sure amuse you, 
The privilege we cannot well refuse you. 

* HENRY THE FIFTH 

Act V. Scene II 

[Enter Henry, Katharine, and Alice.] 

K. Hen. Fair Katharine, and most fair, 

Will you vouchsafe to teach a soldier terms 

Such as will enter at a lady's ear 100 

And plead his love-suit to her gentle heart? 
Eath. Your Majesty shall mock at me; I cannot speak your England. 

* The edition used is the Lake English Classics : Scott, Foresman and Com- 
pany. 



36 A SHAKSPERE FESTIVAL 

K. Hen. O fair Katharine, if you will love me soundly with your 

French heart, I will be glad to hear you confess it brokenly 105 
with your English tongue. Do you like me, Kate? 

Kath. Pardonnez-moi, I cannot tell wat is "like me." 

K. Hen. An angel is like you, Kate, and you are like an angel. 110 

Kath. Que dit-il? que je suis semblable a les anges? 

Alice. Oui, vraiment. 

K. Hen. I said so, dear Katharine; and I must not blush to affirm it. 115 

Kath. don Dieu! les langues des hommes sont pleines des tromperies. 

K. Hen. What says she, fair one? that the tongues of men are full 

of deceits? 120 

Alice. Oui; dat the tongues of de mans is be full of deceits: dat is 
de Princess. 

K. Hen. The Princess is the better English-woman. I know no ways 123 
to mince it in love, but directly to say, ' ' I love you ; ' ' 129 
then, if you urge me further than to say, "Do you in faith?" 130 
I wear out my suit. Give me your answer: i' faith, do; 
and so clap hands and a bargain: how say you, lady! 

Kath. Sauf votre honneur, me understand well. 135 

K. Hen. Marry, if you would put me to verses or to dance for your 

sake, Kate, why you undid me: If I could win a lady at leap- 137 
frog, or by vaulting into my saddle with my armor on my 141 
back, I should quickly have a wife. What! a speaker is 145-167 
but a prater; a rhyme is but a ballad; but a good heart, Kate, 172 
is the sun and the moon; or rather the sun and not the 
moon; for it shines bright and never changes but keeps his 175 
course truly. If thou would have such a one, take me: and 
take me, take a soldier; take a soldier, take a king. And 
what sayest thou then to my love ? Speak, my fair, and fairly, 
I pray thee. 

Kath. Is it possible dat I sould love de enemy of France? 180 

K. Hen. No, Kate; but in loving me you should love the friend of 

France; for I love France so well that I will not part with 185 
a village of it: and, Kate, when France is mine and I am 
yours, then yours is France and you are mine. 189 

Kath. I cannot tell wat is dat. 190 

K. Hen. No, Kate. I will tell thee in French. Je quand sur le 191 

possession de France, et quand vous avez le possession de 194 

moi, let me see, what then? done votre est France, et vous 198 

etes mienne. I shall never move thee in French, unless it be 200 

, to laugh at me. 

Kath. Sauf votre honneur, le Frangois que vous parlez, il est meilldur 
que V Anglois lequel je parle. 



A SHAKSPERE FESTIVAL 37 

K. Hen. No, faith, is't not, Kate; But, Kate, dost thou under- 205-208 
stand thus much English: canst thou love me? 

Kath. I cannot tell. 210 

K. Hen. Can any of your neighbors tell, Kate? 211 

I'll ask them. Come, I know thou lovest me. 211 

How answer you, la plus belle Katharine du monde, mon tres 235 
chere et divin deesse? 

Kath. Your Majeste 'ave fausse French enough to deceive de most sage 
demoiselle dat is en France. 

K. Men. Now, fie upon my false French! 240 

By mine honor, in true English, I love thee, Kate; by which 

honor, I dare not swear thou lovest me; I was created 242 
with a stubborn outside, with an aspect of iron, that when 248 
I come to woo ladies I fright them. But, in faith, Kate, the 250 
elder I wax, the better I shall appear. Thou hast me, if 251 
thou hast me, at the worst; and therefore tell me, most fair 254 
Katharine, will you have me? Take me by the hand, and 257-259 
say, Harry of England, I am thine. Come, your answer in 260 
broken music; for thy voice is music, and thy English broken: 268 
therefore, queen of all, Katharine, break thy mind to me in 270 
broken English, — wilt thou have me? 271 

Kath. Dat is as it sail please de roi mon pere. 

K. Hen. Nay, it will please him well, Kate; it shall please him, Kate. 

Kath. Den it sail also content me. 275 

K. Hen. Upon that I kiss your hand, and I call you my queen. 

Kath. Laissez, mon seigneur, laissez, laissez! 278 

K. Hen. Then I will kiss your lips, Kate. 283 

Kath. Les dames et demoisselles pour etre baissees d'evani leur noces, 

il n'est pas la coutume de France. 285 

K. Hen. Madam, my interpreter, what says she? 

Alice. Dat it is not be de fashion pour les ladies of Frances, — I cannot 

tell vat is baiser en Anglish. 290 

K. Hen. To kiss. 

Alice. Your Majesty entendre better que moi. 

K. Hen. It is not a fashion for the maids in France to kiss before 

they are married, would she say? 295 

Alice. Oui, vraiment. 

K. Hen. O Kate, nice customs curtsy to great kings. Dear Kate, 

you and I are the makers of manners, and the liberty that 298-300 
follows our places stops the mouths of all find-faults; as I 
will do yours, for upholding the nice fashion of your country 
in denying me a kiss; therefore, patiently and yielding. — 305 
Here comes your father. 311 



38 A SHAKSPERE FESTIVAL 

[Enter the French Power and the English Lords.] 

Bur. God save your Majesty! my royal cousin, teach you our princess 

English? 
K. Hen. I would have her learn, my fair cousin, how perfectly I 

love her: and that is good English. 315 

Bur. Is she not apt? 
K. Hen. Our tongue is rough, coz, and my condition is not smooth: 

so that, having neither the voice nor the heart of flattery 320 
about me, I cannot so conjure up the spirit of love in her that 
he will appear in his true likeness. 322 

Shall Kate be my wife? 359 

Fr. King. So please you. We have consented to all terms of rea- 
son. 360-365 
K. Hen. Is't so, my lords of England? 
West. The king hath granted every article: 
His daughter, first; and then in sequel all, 

According to their firm proposed natures. 370 

K. Hen. I pray you then, in love and dear alliance 382 

[Bestow on me] your daughter [Katharine], 384 

Fr. King. Take her, fair son, and from her blood raise up 385 

Issue to me ; that the contending kingdoms 

Of France and England may cease their hatred. 387-389 

All. Amen! 
K. Hen. Now welcome, Kate; and bear me witness all 

That here I kiss her as my sovereign queen. 395 

[Flourish. 

Q. Isa. God, the best maker of all marriages, 

Combine your hearts in one, your realms in one! 

As man and wife, being two, are one in love, 

So be there 'twixt your kingdoms such a spousal 399 

That Englsh may as French, French Englishmen, 404 

Eeceive each other! — God speak this Amen! 
All. Amen! 
K. Hen. Prepare we for our marriage; [let us now 407 

In stately measure celebrate th> event. 

That this day makes our separate kingdoms one.] 

[Betrothal dance.] 
[Exeunt] 



A SHAKSPERE FESTIVAL 39 



rv 

[Flourish of trumpets. The Herald presents the fourth Company of 
Players to Shakspere, announcing the name of the Company and the titli 
of the Act.] 



THE JOLLY MERCHANT PLIES HIS TRADE 

PRESENTED BY 

THE CHILDEEN OF THE CHAPEL EOYAL 



Chorus. [Spolcen oy Shakspere.] 

Work, work, your fancies till before you shows 

The scene that next our Players shall unfold. 

Autolycus, the prince of rogues is singing 

A care-free song of welcome to the spring. 

He meets the clown and easily deceives him, 

Playing the beggar 'spoiled by robbers rude. 

But ere they part the clown is duped unwitting, 

Autolycus the richer by his purse! 

And thus he sings forth-faring on his way 

"Jog on, jog on, another prize today!" — 

And then behold, upon the green a-maying 

The happy shepherds with their lassies gay. 

The greensward is alive with the dancers merry, 

Who one and all make glad their holiday 

With skipping feet and joyous voices trilling, 

They make the feast that marks sheep-shearing time. 

And soon the revels for the country side 

Are in full swing. The mistress of the feast, 

Lovely Perdita, moves with queenly grace 

Among them all while Florizel, her lover, 

Follows admiringly her every turn; 

And in and out among the merry makers 

Now here, now there, Autolycus appears 

Never a moment idle, crying ever 

The many virtues of his peddler's wares. 

And singing loud of wondrous bargains made 

Outwitting all, the while he plies his trade! 



40 A SHAKSPERE FESTIVAL 

First Episode 
The Cloivn the Victim 
THE WINTEB'S TALE 

Act IV. Scene III 
[Enter Autolycus, singing.] 

When daffodils begin to peer, — 

With, hey! the doxy over the dale, — 
Why, then comes in the sweet o' the year; 

For the red blood reigns in the Winter 's pale. 

The white sheet bleaching on the hedge, — 
With, hey! the sweet birds, O, how they sing! — 

Doth set my pugging tooth on edge; 
For a quart of ale is a dish for a king. 

The lark, that tirra-lirra chants, — 

With, hey! with, hey! the thrush and the jay, — 

Are summer songs for me and my aunts, 
While we lie tumbling in the hay. 

I have served Prince Florizel, and, in my time, wore three-pile; but 
now I am out of service: 

[Sings.] But shall I go mourn for that, my dear? 
The pale Moon shines by night: 
And when I wander here and there, 
I then do most go right. 

If tinkers may have leave to live, 

And bear the sow-skin budget, 
Then my account I well may give, 

And in the stocks avouch it. 

My father named me Autolycus; who was likewise a snapper-up of 
unconsidered trifles. A prize! a prize! 

[Enter the Clown.] 
Clown. Let me see. 
Aut. [Aside.] If the springe hold, the cock's mine. 



A SHAKSPERE FESTIVAL 41 

Clown. Let me see: what am I to buy for our sheep-shearing feast? 
Three pound of sugar; five pound of currants; rice, — I must 
have saffron, mace, dates, — nutmegs, seven; a race or two of 
ginger, — but that I may beg; four pounds of prunes, and as 

many of raisins. 
Aut. [Lying on the ground.'] O, that ever I was born! 

Clown. I' the name of me, 

Aut. O, help me, help me! pluck but off these rags; and then, death, 

death ! 
Clown. Alack, poor soul! 
Aut. I am robb'd, sir, and beaten; my money and apparel ta ? en from me, 

and these detestable things put upon me. 
Clown. What, by a horseman or a footman? 
Aut. A footman, sweet sir, a footman. 
Clown. Lend me thy hand, I'll help thee: come, lend me thy hand. 

[Helping him up.] 
Aut. O, good sir, tenderly, O! 
Clown. Alas, poor soul! 

Aut. O, good sir, softly, good sir! I fear, sir, my shoulder-blade is out. 
Clown. How now! canst stand? 
Aut. Softly, dear sir; [Picks his pocket] good sir, softly. You ha' done 

me a charitable office. 
Clown. Dost lack any money? I have a little money for thee. 
Aut. No, good sweet sir; no, I beseech you, sir: offer me no money, I 

pray you; that kills my heart. 
Clown. What manner of fellow was he that robb'd you? 
Aut. A fellow, sir, that I have known to go about with troll-my-dames : 

I knew him once a servant of the Prince: I know this man well: 

some call him Autolycus. 
Clown. Out upon him! he haunts wakes, fairs, and bear-baitings. 
Aut. Very true, sir; he, sir, he; that's the rogue that put me into this 

apparel. 
Clown. Not a more cowardly rogue in all Bohemia. How do you now? 
Aut. Sweet sir, much better than I was; I can stand and walk: I will 

even take my leave of you, and pace softly towards my kinsman's. 
Clown. Shall I bring thee on the way? 
Aut. No, good-faced sir; no, sweet sir. 

Clown. Then fare thee well: I must go buy spices for our sheep-shearing. 
Aut. Prosper you, sweet sir! [Exit Clown.] Your purse is not hot enough 

to purchase your spice. I'll be with you at your sheep -shearing, 

too. 
[Sings.] Jog on, jog on, the footpath way, 
And merrily hent the stile-a: 
A merry heart goes all the day, 
Your sad tires in a mile -a. 



42 A SHAKSPERE FESTIVAL 

Act IV. Scene IV 

Second Episode 

The Sheep-Shearing Festival 

[Enter Florizel and Perdita.'] 
Flor. This your sheep-shearing 

Is as a meeting of the petty gods, 

And you the queen on't. 
Per. Sir, my gracious lord, your high self, you have obscured 

With a swain's wearing: but that our feasts 

In every mess have folly, I should blush 

To see you so attired; more, I think, 

To see myself i' the glass. 
Flor. I bless the time 

When my good falcon made her flight across 

Thy father's ground. 
Per. Now Jove afford you cause! 

Even now I tremble 

To think your father, by some accident, 

Should pass this way, as you did: O, the Fates! 

What would he say? 
Flor. Apprehend 

Nothing but jollity. Thou dearest Perdita, 

Be merry, gentle; 

Strangle such thoughts as these with any thing 

That you behold the while. Your guests are coming: 

Lift up your countenance, as it were the day 

Of celebration of that nuptial which 

We two have sworn shall come. 
Per. O Lady Fortune, 

Stand you auspicious! 
Flor. See, your guests approach. 

[Enter the Shepherd, with Polixenes and Camillo disguised; the Clown, Mopsa, 

Dorcas, and other Shepherds and Shepherdesses.] 
Shep. Fie, daughter! when my old wife lived, upon 
This day she was both pantler, butler, cook; 
Both dame and servant; welcomed all, served all; 

You are retired, 
As if you were a feasted one, and not 
The hostess of the meeting: pray you, bid 
These unknown friends to's welcome; 



A SHAKSPERE FESTIVAL 43 

Come, quench your blushes, and present yourself 

That which you are, mistress o' the feast: come on, 

And bid us welcome to your sheep-shearing, 

As your good flock shall prosper. 
Per. [To Polixenes.] Welcome, sir: 

It is my father's will I should take on me 

The hostess-ship o' the day/ [To Cam.] You're welcome, sir. 

Give me those flowers there, Dorcas. — 
Here's flowers for you; 

Hot lavender, mints, savory, marjoram; 

The marigold, that goes to bed wi' th' Sun, 

And with him rises weeping: these are flowers 

Of middle Summer, and, I think, they're given 

To men of middle age. Ye 're very welcome. 
Cam. I should leave grazing, were I of your flock, 

And only live by gazing. 
Per. Out, alas! 

You'd be so lean that blasts of January 

Would blow you through and through. — Now, fair'st friend, 

I would I had some flowers o' the Spring that might 

Become your time of day; O, these I lack, 

And my sweet friend, come, take your flowers: 

Methinks I play as I have seen them do 

In Whitsun pastorals: sure, this robe of mine 

Does change my disposition. 
Flor. What you do 

Still betters what is done. When you speak, sweet, 

I'd have you do it ever; when you sing, 

I'd have you buy and sell so; so give alms; 

Pray so; and, for the ordering your affairs, 

To sing them too: when you do dance, I wish you 

A wave o' the sea, that you might ever do 

Nothing but that. 
Per. Doricles, 

Your praises are too large. 
Flor. Now, come; our dance, I pray: 

Your hand, my Perdita. 

[Music, the Shepherd's dance.] 

Pol. Pray you, good shepherd, what fair swain is this 

Which dances with your daughter? 
Shep. They call him Doricles: He says he loves my daughter: 

I think so too; for never gazed the Moon 

Upon the water, as he'll stand, and read, 

As 'twere my daughter's eyes: and, to be plain 



44 A SHAKSPERE FESTIVAL 

I think there is not half a kiss to choose 
Who loves another best. 
Pol. She dances featly. 

Shep. So she does any thing; though I report it, 
That should be silent: if young Doricles 
Do light upon her, she shall bring him that 
Which he not dreams of. 

[Enter a Servant.] 
Serv. O master, if you did but hear the peddler at the door, you would 
never dance again after a tabor and pipe; no, the bagpipe could 
not move you : he sings several tunes faster than you '11 tell money ; 
he utters them as he had eaten ballads, and all men's ears grow 
to his tunes. 
Clown. He could never come better; he shall come in: I love a ballad 
but even too well, if it be doleful matter merrily set down, or a 
very pleasant thing indeed, and sung lamentably. 
Serv. He hath songs for man and woman, of all sizes ; he has the prettiest 

love-songs for maids. 
Clown. Pr 'ythee, bring him in ; and let him approach singing. 

[Exit Servant. Be-enter immediately with Autolycus, singing, then exit 
again.] 
Lawn as white as driven snow; 
Cyprus black as e'er was crow: 
Gloves as sweet as damask roses: 
Masks for. faces and for noses; 
Bugle-bracelet, necklace-amber, 
Perfume for a lady's chamber; 
Golden quoifs and stomachers, 
For my lads to give their dears; 
Pins and poking-sticks of steel, 
What maids lack from head to heel : 
Come buy of me, come; come buy, come buy; 
Buy, lads, or else your lasses cry: 
Come buy. 
Clown. If I were not in love with Mopsa, thou shouldst take no money of 
me; but, being enthrall 'd as I am, it will also be the bondage of 
certain ribands and gloves. 
Mopsa. I was promised them against the feast; but they come not too late 
now. Come, you promised me a tawdry-lace and a pair of sweet 
gloves. 
Clown. Have I not told thee how I was cozen 'd by the way, and lost all 

my money? 
Aut. And, indeed, sir, there are cozeners abroad; therefore it behooves 
men to be wary. 



A SHAKSPERE FESTIVAL 45 

Clown. Fear not thou, man, thou shalt lose nothing here. 

Aut. I hope so, sir; for I have about me many parcels of charge. 

Clown. What hast here? ballads? 

Mopsa. Pray now, buy some: I love a ballad in print. Pray you now, 

buy it. 
Clown. Come on, lay it by: and let's first see more ballads; we'll buy the 

other things anon. 
Aut. Here's another ballad, of a fish that appeared forty thousand 
fathom above water, and sung this ballad against the hard hearts 
of maids. 
Clown. Lay it by, too: another. 
Aut. This is a merry ballad, but a very pretty one. 
Mopsa. Let's have some merry ones. 
Aut. Why, this is a passing merry one, and goes to the tune of Two Maids 

Wooing a Man: 
Clown. We'll have this song anon by ourselves: — 
Come, bring away thy pack after me. — 

Wenches, I'll buy for you both. — Peddler, let's have the first choice. — 
Follow me, girls. 

[Exit with Boreas and Mopsa.] 
Aut. And you shall pay well for 'em, — 

[Sings.] Will you buy any tape, or lace for your cape, 
My dainty duck, my dear-a? 
Any silk, any thread, any toys for your head, 
Of the new'st and finest, finest wear-a? 
Come to the peddler ; money 's a meddler, 
That doth utter all men's ware-a. 

[Exit. Ee-enter Servant.] 

Serv. Master, there is three goat-herds, three shepherds, three neat-herds, 

three swine-herds, that have made themselves all men of hair; 

they call themselves Saltiers: and they have a dance which will 

please plentifully. 

Shep. Away! .we'll none on't: here has been too much homely foolery 

already. — I know, sir, we weary you. 
Pol. You weary those that refresh us: pray, let's see these four threes of 

herdsmen. 
Serv. Why, they stay at door, sir. [Exit.] 

[Enter twelve Rustics habited like Satyrs, who dance, and then exeunt. 
As they go out Autolycus, Clown, Dorcas, Mopsa return. The Shepherds and 
Shepherdesses flock to Autolycus, join a ring with him in center and have 
a merry morris dance. Towards the close Polixenes and Camilla go off 
talking.] 

[Exeunt All.] 



46 A SHAKSPERE FESTIVAL 



[Flourish of trumpets. The Herald presents the last Company of Play- 
ers to Shakspere, announcing the name of the Company and the title of 
the Act.] 

FUN FOB EVERYMAN 

PRESENTED BY 

THE SEEVANTS OF THE LOED CHAMBEELAIN 

[SMkspere steps forward and speaks the Chorus of the First Episode.] 

First Episode 

Malvolio Befooled 

Chorus. [Spoken by Shakspere.] 

Linger your patience on and you shall view 

A scene of frolic, mockery, and mirth. 
Vouchsafe to those that have not read the story 

That I may prompt them: well then thus it runs: 

Malvolio fondly thinks Olivia loves him. 

Maria, knowing this, throws in his way 
A missive which she writes to further dupe him, 

And then she brings Sir Toby and his friends 

Within the garden 'neath the shrubbery 
To watch Malvolio when he chances on it. 

Enjoy the fun. — I must no longer stay 

Already come the actors in the play. 

* TWELFTH NIGHT 

Act II. Scene V. 

Olivia's Garden. 

[Enter Sir Toby, Sir Andrew, and Fabian.] 

Sir To. Come thy ways, Signior Fabian. 

Fab. Nay, I'll come: if I lose a scruple of this sport, let me be boiled to 

death with melancholy. 
Sir To. Wouldst thou not be glad to have the niggardly, rascally sheep- 5 

biter come by some notable shame? 
Fab. I would exult, man. 8 



► The edition used Is the Lake English Classics : Scott, Foresman & Company. 



A SHAKSPERE FESTIVAL 47 

Sir To. We will fool him black and blue: shall we not, Sir Andrew? 12 

Sir And. An we do not, it's pity of our lives. 

Sir To. Here comes the little villain. 

[Enter Maria.] 
How now, my metal of India! 

Mar. Get ye all three into the box-tree Malvolio 's coming down this 
walk. He has been yonder i' the sun practising behavior to 
his own shadow this half -hour. Observe him, for the love of 20 
mockery, for I know this letter will make a contemplative 
idiot of him. Close, in the name of jesting! Lie thou there. 23 
[Throws down a letter. Exit. Enter Malvolio.'] 

Mai. 'Tis but fortune; all is fortune. Maria once told me she did 
affect me; and I have heard herself come thus near, that, 
should she fancy, it should be one of my complexion. 30 

Sir To. Here's an overweening rogue! 33 

Fab. Oh, peace! Contemplation makes a rare turkey-cock of him. 35 

Sir And. 'Slight, I could so beat the rogue ! 

Sir To. Peace, I say. 

Mai. To be Count Malvolio! 

Sir To. Ah, rogue! 40 

Sir And. Pistol him, pistol him. 

Sir To. Peace, peace! 42 

Mai. Having been three months married to her, sitting in my state, — 48 

Sir To. Oh, for a stone-bow, to hit him in the eye ! 50 

Mai. — Calling my officers about me, in my branched velvet gown, — 52 

Sir To. Fire and brimstone! 54 

Fab. Oh, peace, peace! 55 

Mai. — Telling them I know my place as I would they should do theirs, 
to ask for my kinsman Toby. 

Sir To. Bolts and shackles ! 60 

Fab. Oh, peace, peace, peace! Now, now. 61 

Mai. Toby approaches; courtesies there to me, — 65 

Sir To. Shall this fellow live? 

Fab. Though our silence be drawn from us with cars, yet peace. 

Mai. — I extend my hand to him thus, quenching my familiar smile 70 
with an austere regard of control, — 

Sir To. And does not Toby take you a blow o' the lips then? 

Mai. — Saying, "Cousin Toby, my fortunes having cast me on your 75 
niece give me this prerogative of speech." — 

Sir To. What, what? 

Mai. — "You must amend your drunkenness." 

Sir To. Out, scab! 80 

Fab. Nay, patience, or we break the sinews of our plot. 

Mai. "Besides, you waste the treasure of your time with a foolish 
knight,"— 



48 A SHAKSPERE FESTIVAL 

Sir And. That's me, I warrant you. 85 

Mai. — "One Sir Andrew." 

Sir And. I knew 't was Ij for many do call me fool. 

Mai. What employment have we here? 

[Talcing up the letter.] 
Fab. Now is the woodcock near the gin. 90 

Sir To. Oh, peace! 
Mai. By my life, this is my lady's hand: these be her very C's, her 

U 's, and her T 's ; and thus makes she her great P 's. It is, in con- 95 
tempt of question, her hand. 
Sir And. Her C's, her U's, and her T's: why that? 

Mai. [Beads] ' ' To the unknown beloved, this, and my good wishes : ' ' 100 

— her very phrases! By your leave, wax. 101 

Fab. This wins him. 104 

Mai. [Beads'] Jove knows I love: 105 

But who? 

Lips, do not move; 

No man must know. 
1 ' No man must know. ' ' What follows ? The numbers altered ! 
"No man must know"; if this should be thee, Malvolio? 
Sir To. Marry, hang thee. 
Mai. [Beads] I may command where I adore; 
But silence, like a Lucreee knife, 

With bloodless stroke my heart doth gore: 115 

M, O, A, I, doth sway my life. 
Fab. A fustian riddle! 
Sir To. Excellent wench, say I. 
Mai. "M, O, A, I, doth sway my life. ' ' Nay, but first, let me see, let 

me see, let me see. 120 

Fab. What dish o' poison has she dressed him? 121 

Mai. "I may command where I adore." Why, she may command 124 
me : I serve her : she is my lady. — And the end, — what should 
that alphabetical position portend? If I could make that 128 
resemble something in me, — Softly ! M, O, A, I, — 130 

Sir To. Oh, ay, make up that. He is now at a cold scent. 
Mai. M, — Malvolio; M, — why, that begins my name. 136 

Fab. Did not I say he would work it out? the cur is excellent at 

faults. 
Mai. M, — but when there is no consonancy in the sequel; that suffers 140 

under probation: A should follow, but O does. 
Fab. And O shall end, I hope. 

Sir To. Ay, or I'll cudgel him, and make him cry O! 145 

Mai. And then I comes behind. 

Fab. Ay, an you had an eye behind you, you might see more detrac- 
tion at your heels than fortunes before you. 



A SHAKSPERE FESTIVAL 49 

Mai. M, O, A, I; Soft! here follows prose. 150 

[Beads] "If this fall into thy hands, revolve. In my stars I 154 
am above thee; but be not afraid of greatness: some are 155 
born great, some achieve greatness, and some have greatness 158 
thrust upon 'em. Be opposite with a kinsman, surly with 162 
servants; she thus advises thee that sighs for thee. Kemem- 165 
ber who commended thy yellow stockings, and wished to see 168 
•thee ever cross-gartered: I say, remember. Farewell. She 172 
that would alter services with thee. THE FOKTUNATE- 
UNHAPPY. ' ' 174 

Daylight and champain discovers not more. This is open. I 175 
will be proud, I will baffle Sir Toby, for every reason excites 
to this, that my lady loves me. She did commend my yellow 181 
stockings of late, she did praise my leg being cross-gartered. 183 
I will be strange, stout, in yellow stockings, and cross-gartered, 186 
even with the swiftness of putting on. Jove and my stars be 191 
praised! Here is yet a postscript. 
[Beads] "Thou canst not choose but know who I am. If thou 
entertainest my love, let it appear in thy smiling; thy smiles 
become thee well; therefore in my presence still smile, dear 
my sweet, I prithee.' ' 195 

Jovej I thank thee: I will smile; I will do everything that thou 
wilt have me. [Exit] 
Fab. I will not give my part of this sport for a pension of thousands. 200 
Sir To. I could marry this wench for this device. 
Sir And. So could I too. 

Sir To. — and ask no other dowry with her but such another jest. 205 

Sir And. Nor I neither. 
Fab. Here comes my noble gull-catcher. 

[Be-enter Maria.] 
Sir To. Wilt thou set thy foot o' my neck? 

Sir And. Or o' mine either? 210 

Sir To. Shall I become thy bond-slave? 

Sir And. F faith, or I either? 213 

Mar. Nay, but say true; does it work upon him? 217 

[They nod] 
If you will then see the fruits of the sport, mark his first approach 220 
before my lady. He will come to her in yellow stockings, 
and 't is a color she abhors; and cross-gartered a fashion 
she detests; and he will smile upon her. If you will see it, 224 
follow me. 228 

Sir To. To the gates of Tartar, thou most excellent devil of wit ! 230 

Sir And. I'll make one too. 

[Exeunt.] 



50 A SHAKSPERE FESTIVAL 

[Flourish of trumpets. Shalspere steps forward and speaks Chorus to] 
Second Episode 
Pyramus and Thisbe 

Chorus. [Spoken by Shakspere.] 

Last scene of all that ends this hour's illusion 
The Players bring from out the distant past. 
The world-old tale of Pyramus and Thisbe 
Now shall you see performed in version new : 
Hard-handed men of Athens are the actors. 
With all the crudity of simple folk 
They play their parts. And though you laugh 
When Wall and Moonshine speak and Lion roars 
You can but in a way, commend the ardor 
Displayed by each in working out his part. 
These rude mechanicals have done all this 
In honor of Duke Theseus' nuptial feast. — 
No more from me. Now Chorus says adieu, 
To all of you who've sat this medley through. 



*A MIDSTJMMEK NIGHT 'S DREAM 

Act V, Scene I 

Athens. The palace of Theseus 

[Enter, Lysander, Demetrius, Hermia, Helena, Theseus, Hippolyta, Philos- 
trate, Lords, and Attendants.] 

[They enter to the strains of Wedding March and are seated.] 

The. Come now; what masques, what dances shall we have, 32 

Where is our usual manager of mirth? 35 

What revels are in hand? 36 

Call Philostrate. 38 

Phil. Here, mighty Theseus. 

The. Say, what abridgement have you for this evening? 

What masque? what music? How shall we beguile 40 

The lazy time, if not with some delight? 

* The edition used is the Lake English Classics : Scott, Foresman & Company. 



A SHAKSPERE FESTIVAL 51 

Phil. There is a brief how many sports are ripe. 

Make choice of which your Highness will see first. 43 

[Giving a paper] 
The. [Beads] "A tedious brief scene of young Pyramus 56 

And his love Thisbe; very tragical mirth.' ' 

Merry and tragical! Tedious and brief! 

That is, hot ice and wondrous strange snow. 

How shall we find the concord of this discord? 60 

Phil. A play there is, my lord, some ten words long, 

Which is as brief as I have known a play ; 

But by ten words, my lord, it is too long, 

Which makes it tedious; for in all the play 

There is not one word apt, one player fitted. 65 

And tragical, my noble lord, it is; 

For Pyramus therein doth kill himself. 

Which, when I saw rehears 'd, I must confess, 

Made mine eyes water ; but more merry tears 

The passion of loud laughter never shed. 70 

The. What are they that do play it? 
Phil. Hard-handed men that work in Athens here, 

Which never labor 'd in their minds till now, 

And now have toiled their unbreathed memories 

With this same play, against your nuptial. 75 

The. And we will hear it. 
Phil. No, my noble lord; 

It is not for you. I have heard it over, 

And it is nothing, nothing in the world ; 78 

To do you service. 81 

The. I will hear that play ; 

For never anything can be amiss, 

When simpleness and duty tender it. 

Go, bring them in ; and take your places, ladies. 
[Exit Philostrate] 
Hip. I love not to see wretchedness o 'ercharged, 85 

And duty in his service perishing. 
The. Why, gentle sweet, you shall see no such thing. 
Hip. He says they can do nothing in this kind. 
The. The kinder we to give them thanks for nothing. 

Our sport shall be to take what they mistake. 
[Be-enter Philostrate.] 
Phil. So please your Grace, the Prologue is address 'd 106 

The. Let him approach. 

[Flourish of trumpets] 
[Enter (Quince for) the Prologue.] 



52 A SHAKSPERE FESTIVAL 

Pro. If we offend, it is with our good will. 

That you should think, we come not to offend, 

But with good will. To show our simple skill, 110 

This is the true beginning of our end. 

Consider then we come but in despite. 

We do not come as minding to content you, 

Our true intent is. All for your delight 

We are not here. That you should here repent you. 115 

The actors are at hand, and by their show 

You shall know all that you are like to know. 
The. This fellow doth not stand upon points. 

Lys. He hath rid his prologue like a rough colt ; he knows not the stop. 120 
Hip. Indeed he hath play 'd on this prologue like a child on a recorder ; 

a sound, but not in government. 
_ he. His speech was like a tangled chain ; nothing impaired, but all 

disordered. Who is next? 125 

L Enter with a trumpet "before them, Pyramus and Thisbe, Wall, Moonshine. 

and Lion.] 
Pro. Gentles, perchance you wonder at this show; 

But wonder on, till truth make all things plain. 

This man is Pyramus, if you would know; 

This beauteous lady Thisby is certain. 

This man, with lime and rough-cast, doth present 130 

Wall, that vile Wall which did these lovers sunder; 

And through Wall's chink, poor souls, they are content 

To whisper. At the which let no man wonder. 

This man with lantern, dog, and bush of thorn, 

Presenteth Moonshine; for, if you will know, 135 

By Moonshine did these lovers think no scorn 

To meet at Ninus' tomb, there, there to woo. 

This grisly beast, which Lion hight by name, 

The trusty Thisby, coming first by night, 

Did scare away, or rather did affright ; 140 

And, as she fled, her mantle she. did fall, 

Which Lion vile with bloody mouth did stain. 

Anon comes Pyramus, sweet youth and tall, 

And finds his trusty Thisby 's mantle slain; 

Whereat, with blade, with bloody blameful blade, 145 

He bravely broach 'd his boiling bloody breast; 

And Thisby, tarrying in mulberry shade, 

His dagger drew, and died. For all the rest, 

Let Lion, Moonshine, Wall, and lovers twain 

At large discourse, while here they do remain. 150 

[Exeunt Prologue, Pyramus, Thisbe, Lion, and Moonshine.'] 



A SHAKSPERE FESTIVAL 53 

Wall. In this same interlude it doth befall 

That I, one Snout by name, present a wall ; 155 

And such a wall, as I would have you think, 

That had in it a crannied hole or chink, 

Through which the lovers, Pyramus and Thisby, 

Did whisper often very secretly. 

This loam, this rough-cast, and this stone doth show 160 

That I am that same wall; the truth is so: 

And this the cranny is, right and sinister, 

Through which the fearful lovers are to whisper. 
The. Would you desire lime and hair to speak better? 165 

Dem. It is the wittiest partition that ever I heard discourse, my lord. 

[Enter Pyramus.] 

The. Pyramus draws near the wall. Silence! 

Pyr. O grim-look 'd night! O night with hue so black! 

O night, which ever art when day is not! 170 

night, O night ! alack, alack, alack, 

1 fear my Thisby 's promise is forgot! 
And thou, O wall, O sweet, O lovely wall, 

That stand 'st between her father's ground and mine! 

Thou wall, O wall, O sweet and lovely wall, 175 

Show me thy chink, to blink through with mine eyne! 

[Wall holds up his -fingers'] 
Thanks, courteous wall; Jove shield thee well for this! 
But what see I? No Thisby do I see. 
O wicked wall, through whom I see no bliss! 

Curs'd be thy stones for thus deceiving me! 180 

The. The wall, methinks, being sensible, should curse again. 
Pyr. No, in truth, sir, he should not. " Deceiving me" is Thisby 's 
cue. She is to enter now, and I am to spy her through the 
wall. You shall see it will fall pat as I told you. Yonder 
she comes. 

[Enter Thisoe.] 

This. wall, full often hast thou heard my moans, 

For parting my fair Pyramus and me! 

My cherry lips have often kiss'd thy stones, 

Thy stones with lime and hair knit up in thee. 190 

Pyr. I see a voice ! Now will I to the chink, 

To spy an I can hear my Thisby 's face. 

Thisby! 
This. My love thou art, my love I think. 
Pyr. Think what thou wilt, I am thy lover 's grace ; 

And, like Limander, am I trusty still. 195 



54 A SHAKSPERE FESTIVAL 

This. And I like Helen, till the Fates me kill. 

Pyr. Not Shafalus to Proems was so true. 

This. As Shafalus to Procus, I to you. 

Pyr. O, kiss me through the hole of this vile wall! 

This. I kiss the wall's hole, not your lips at all. 200 

Pyr. Wilt thou at Ninny's tomb meet me straight-way? 

This. 'Tide life, 'tide death, I come without delay. 

[Exeunt Pyramus and Thisoe] 

Wall. Thus have I, Wall, my part discharged so; 

And, being done, thus Wall away doth go, 204 

[Exit.] 

Hip. This is the silliest stuff that ever I heard. 209 
The. The best in this kind are but shadows; and the worst are no 

worse, if imagination amend them. 211 

Here come two noble beasts in, a man and a lion. 215 

[Enter Lion and Moonshine.] 

Lion. You, ladies, you, whose gentle hearts do fear 

The smallest monstrous mouse that creeps on floor, 

May now perchance both quake and tremble here, 

When lion rough in wildest rage doth roar. 220 

Then know that I, one Snug the joiner, am 

A lion fell, nor else no lion's dam; 

For, if I should as lion come in strife 

Into this place, 't were pity on my life. 
The. A very gentle beast, and of a good conscience. 225 

Bern. The very best at a beast, my lord, that e 'er I saw. 227 

Moon. This lantern doth the horned moon present: — 236 

Bern. He should have worn the horns on his head. 237 

Moon. This lantern doth the horned moon present; 241 

Myself the man i' the moon do seem to be. 
The. This is the greatest error of all the rest. 

The man should be put into the lantern. How is it else the man i ' 

the moon? 245 

Hip. I am aweary of this moon. Would he would change! 248-249 

The. It appears, by his small light of discretion, that he is in the 250 
wane. 251 

Lys. Proceed, Moon. 253 

Moon. All that I have to say, is, to tell you that the lantern is the 

moon ; I, the man i ' the moon ; this thorn-bush, my thorn-bush ; 255 
and this dog, my dog. 
Bern. Why, all these should be in the lantern ; for all these are in the 

moon. But, silence! here comes Thisbe. 260 



A SHAKSPERE FESTIVAL 55 

[Enter Thisbe.] 
This. This is old Ninny 's tomb. Where is my love ? 

Lion. [Boaring] Oh [Thisbe runs off] 

Bern. Well roar'd, Lion. 

The. Well run, Thisbe. 

Hip. Well shone, Moon. Truly, the moon shines with a good grace. 265 

[The Lion shakes Thisbe's mantle, and exit] 
The. Well mous'd Lion. 
Bern. And then came Pyramus. 
Lys. And so the lion vanish 'd. 

[Enter Pyramus.] 
Pyr. Sweet Moon, I thank thee for thy sunny beams; 270 

I thank thee, Moon, for shining now so bright; 
For, by thy gracious, golden glittering gleams, 
I trust to take of truest Thisby sight. 

But stay, O spite! 

But mark, poor knight, 275 

What dreadful dole is here! 
Eyes, do you see? 
How can it be ? 
O dainty duck! O dear! 

Thy mantle good, 280 

What, stained with blood! 
Approach, ye Furies fell! 
O Fates, come, come, 
Cut thread and thrum ; 
Quail crush, conclude, and quell ! 285 

Hip. Beshrew my heart, but I pity the man. 
Pyr. O wherefore, Nature, didst thou lions frame? 

Since lion vile hath here deflower 'd my dear ; 290 

Which is — no, no — which was the fairest dame 
That liv'd, that lov'd, that lik'd, that look'd with cheer. 
Come tears, confound; 

Out, sword and wound 294 

[Stabs himself] 
Thus die I, thus, thus, thus. 298 

Now am I dead, 

Now am I fled; 300 

My soul is in the sky. 

Tongue, lose thy light; 
Moon, take thy flight. 

[Exit Moonshine] 
Now die, die, die, die, die. 304 

[Dies] 



56 A SHAKSPERE FESTIVAL 

The. With the help of a surgeon he might yet recover. 309 

Hip. How chance Moonshine is gone before Thisbe comes back and 
finds her lover? 

[Be-enter Thisbe.] 

The. She will find him by starlight. Here she comes ; and her passion 

ends the play. 314 

This. Asleep, my love? 323 

What, dead, my dove? 
O Pyramus, arise! 

Speak, speak! Quite dumb? 
Dead, dead? A tomb 
Must cover thy sweet eyes. 
These lily lips, 

This cherry nose, 330 

These yellow cowslip cheeks, 

Are gone, are gone! 

Lovers, make moan. 

His eyes were green as leeks. 

O Sisters Three, 335 

Come, come to me, 
With hands as pale as milk; 
Lay them in gore, 
Since you have shore 
With shears his thread of silk. 340 

Tongue, not a word! 
Come, trusty sword; 
Come, blade, my breast imbrue; 

[Stabs herself] 
And, farewell, friends; 

Thus Thisby ends. 345 

Adieu, adieu, adieu. 

[Dies] 
The. Moonshine and Lion are left to bury the dead. 347, 348 

Bern. Ay, and Wall, too. 

Bot. [Starting up] No, I assure you; the wall is down that parted 350 
their fathers. Will it please you to hear a Bergomask dance 
between two of our company? 
The. [Yes] come, your Bergomask. 360 

[A dance] 
[Exeunt. Court moves out to strains of Wedding March.] 



A SHAKSPERE FESTIVAL 57 

[At the conclusion of this scene the five Companies of Players come 
forward and kneel oefore the Queen, as Shakspere speaks the Epilogue.] 



EPILOGUE 

And now, my Queen, before this day hath ending 

The Players all salute thee fittingly, 

On bended knee they ask thy gracious pardon 

For all the faults they Ve made in act and scene, 

Trusting that now and then a moment 's laughter 

Was thine, despite their speech and gesture crude. 

The actors beg a brief space yet indulgence 

The while they trip another round for thee. 

The Court will join in this our final measure, 

In honor of our Queen. Come now, and sing, 

And after, offer greetings to the spring! 

[The Players rise, join hands, and dance a roundelay as they sing the 
following song.] 

Song. 

Fairy blessings now we bring, 

Dancing round in magic ring. 

Shower health and happiness 

Ever on our good Queen Bess! 

It is she who aids the actors, 

It is she who makes them factors 

In the revels of the day. 

As we dance our roundelay 

Let us bring our tribute to her, 

All our thanks and more are due her. 

Never harm 
Nor spell nor charm 
Come our lovely lady nigh! 
Let our voices soar on high, _ 

Happiness 
For good Queen Bess! 
Spirits of the air unseen 
Bless, oh, bless our Fairie Queen! 

[As the song ends the Knights and Ladies of the Court join the dancers. 
After a merry country dance a triumphal march is played as the Queen and 
Court leave while the Players stand with lowed heads. Then they, too, 
move off to strains of sprightly music, Shalcspere leading.] 



TEACHING SHAKSPERE IN SCHOOLS 

By William Allan Neilson 

" Probably," says a recent writer, " there is no part of the world 
today where the study of Shakspere is so active and where the interest in 
his work is so widespread [as in America]. In one respect, at least, the 
United States in recent years has carried this study and interest beyond 
England, in the fields of education. As the study of the mother tongue 
has become the basis of American education, so Shakspere has come to 
play a more and more important part in the training of youth. The 
universities offer training in the various departments of Shaksperean scholar- 
ship, every college offers courses on his plays, a number of them are pre- 
scribed for reading and study in the high schools; a few of them are read 
and extracts memorized in the primary schools. The child begins his edu- 
cation with Ariel and the fairies, and until his schooling is completed is 
kept in almost daily intercourse with the poetry and persons of the dramas. 
Homer was not better known in Athens. In a democracy still young and 
widely separated from older nations and cultures, Shakspere has become 
one of the links that bind the American public not only to the common 
inheritances of the English-speaking races, but to the traditional culture 
of Europe. " 

The state of things thus eomplimentarily summarized is such as to 
justify some self -congratulation ; its continuance, it would seem, can only 
result in good. But with all this interest and all this study it is clear to 
any one who follows educational discussion in this country that there is no 
general agreement as to either the aims or the methods to be pursued in the 
teaching of Shakspere in our schools. . . . 

For purposes of clearness I shall take up the different topics in the fol- 
lowing order: plot, dialogue, character, poetry, thought. The order is not 
that of relative importance. Under these heads it will be possible to dis- 
cuss the most important elements in the plays of Shakspere which we may 
reasonably hope to bring, at least in part, within the range of a schoolboy's 
appreciation. Other subjects of Shaksperean study, valuable in themselves 
for older students but properly to be subordinated in school, will be treated 
more summarily. 

Plot 

What the Elizabethan dramatist set out to tell, what the Elizabethan 
play-goer went to hear, was a story. The English drama grew up as a way 
of telling stories, biblical, historical, romantic, comic, to people most of 

59 



60 A SHAKSPERE FESTIVAL 

whom could not read or had limited access to books. The story was taken 
out of the narrative form and presented by means of action and dialogue. 
It is important, then, to make the student grasp all that happens in the 
play. For this the imagination of both teacher and pupil has to be exercised, 
for the text of Shakspere as we have it today is but a partial record of the 
original performance. Then, as now, much of the effectiveness of acted 
drama depended on stage " business, ' ' and the tradition of this business, 
much of which we may suppose that Shakspere himself as actor and part- 
proprietor of the theater suggested, is largely lost. The original editions 
are practically without stage directions; and modern editors have sought 
to supply only the bare minimum to render the dialogue intelligible. But 
any one who visualizes the action as he reads will see that a thousand 
significant motions and gestures are needed to transform our printed notes 
of the speeches into a piece of life; and this habit of visualization is the 
first thing for both teacher and student to cultivate. It will, of course, 
result in many and conflicting interpretations, none of which may claim 
to be authentic: but so much the better, for we can secure that active and 
responsive attitude toward literature which it is our aim to substitute for 
the passive one — of the bucket being filled — which is the bane of all educa- 
tional endeavor. It is clear that seeing the plays acted and acting them 
oneself — even badly — must help in this matter of visualizing the action. 

The immediate result of this recreating of the business is the sense 
of the value of scenes, and of situations within scenes. Dramatic action 
is a succession of climaxes, where the forces and persons engaged come 
face to face in moments of culminating interest in which the elements of 
the conflict stand revealed. Each of these moments gives a situation, and 
to the creation and significance of these situations the pupil's attention 
must constantly be drawn. 

The Elizabethan drama after Shakspere, and much modern drama, are 
chiefly excellent in situations; but in Shakspere, as a rule, the whole play 
is still "the thing," and we must find means to make impressive the 
dramatic unity of action. For this, one is usually advised to begin by 
reading the play rapidly with the class; but this is not enough. The full 
effect can only be got after the whole series of scenes is well known ; and, as 
it is not always easy to recall the sequence of scenes, help must be given. 
The simplest way to do this is to summarize — a line to a scene — the whole 
action on the blackboard, marking clearly the division into acts. Then the 
whole class, having the full extent of the action under the eye at once, can 
profitably be led to discuss the part each scene plays in the whole, the real 
turning point of the action, and the fashion in which the end is justified 
by and justifies all that goes before. Books on the technic of the drama 
are suggestive for the teacher; but it is not wise to load the student's 
memory with a mass of modern technical terms which tend to give a false 
impression of mechanism in the making of a Shaksperean play. But the 
fundamental conception of unity of action, of the necessity for beginning, 



A SHAKSPERE FESTIVAL 61 

middle, and end, which is as old as criticism, can be made clear with very- 
little in the way of specialized terminology. This conception is of the high- 
est importance for other forms of literature as well, but the comparative 
shortness of plays makes them the most appropriate medium for presenting 
the idea to the student. 

Dialogue 

Though dialogue was originally chiefly a means of explaining what the 
actors were doing and why, it came even before Shakspere's time, in the 
work of Lyly, to have an interest of its own. There are scenes, especially 
in comedies like Love's Labour's Lost, Much Ado About Nothing, and 
As You Like It, where the exchange of brilliant repartee is of more interest 
than the bearing of the talk on the action; and there are characters, like 
Touchstone, whose chief function is to be witty and the cause of wit in 
others. A stern criticism is sometimes severe on the redundancy of such 
scenes from a strictly dramatic point of view, but we cannot go wrong in 
helping students to enjoy them in themselves, and to feel the relief that 
is sometimes afforded by them, as for example, in the terrible tension of the 
last scenes of Hamlet by the relaxation of the conversation with Osric. 

We should also point out the different types of dialogue and their pur- 
poses: the merely expository purpose in scenes like that of the bleeding 
sergeant in Macbeth; the psychological purpose in the soliloquies of Hamlet 
and his uncle; the intentional suggestion of the pastoral convention in the 
verse scenes of the Phebe-Silvius plot in As You Like It; the dialogue of 
repartee for its own sake just mentioned; the dialogue which combines 
sparkle and characterization and action like that which culminates in the 
"Kill Claudio!" of Beatrice. 

Character 

But dialogue cannot, any more than plot, be separated from the consid- 
eration of character; for the most important quality of dialogue is its 
appropriateness to the speakers. This discussion of naturalness, of dramatic 
fitness, will always be two-sided; it embraces both the manipulation of the 
conversation in itself, and the unfolding of character and action. 

Although, as I have said, the Elizabethan drama was primarily and 
historically a way of telling a story, it seems probable that in Shakspere 
himself the interest, as he reached the climax of his career, centered more 
and more in the creation of men and women. And the experience of most 
teachers shows that it is in the result of such creation that the pupil's 
interest is most easily aroused. The illusion of reality by which Lady Mac- 
beth and Claudius are made as actual as President Wilson and the German 
Emperor takes easy possession of the young imagination, and there is no 
reason why the discussion of their springs of action, on this basis of reality, 
should be discouraged. Such discussion, however, is very apt to wander far 
from the text ; one has known it, in a critic as great as Coleridge, to become 



62 A SHAKSPERE FESTIVAL 

so largely subjective that the facts as given in the play are almost lost 
from sight. To counteract this tendency it is well to demand act and 
scene for each characteristic noted by the pupil ; or, to reverse the procedure, 
material for forming a clear conception of the character can be collected by 
asking the class, apropos of each scene in which a given character appears, 
to name the qualities there exhibited. These qualities, arranged in a logical 
sequence, then form a substantial basis for a written estimate. 

Definiteness of conception having been thus obtained, discussion can 
proceed on the dramatic function of the character, his importance for indi- 
vidual scenes and for the plot as a whole. At times he will be found to be, 
as in the proverbial case of Hamlet, the keystone of the arch; at others, 
as in the case of Jaques in As You Like It, of no importance whatever 
for the action, whereupon rises a profitable question as to wherein his value 
does lie. He may help to create atmosphere, or supply comic relief, or utter 
important commentary on the others; but, in any case, the raising of the 
question will tend to open the eyes of pupils to many sources of artistic 
pleasure they might otherwise have missed. 

But it will usually be found that the natural interest of younger stu- 
dents is in the ethical aspects of the leading figures. The modern teacher 
has a wholesome dread of using literature as an occasion for preaching; 
but this need not prevent him from encouraging and giving critical guid- 
ance to a perfectly sound instinct. The degradation of the character of 
Macbeth, the justification of Brutus, the morality of Juliet's nurse are 
surely legitimate interests for the student, since they were for the author 
of the plays. It is not necessary to close such discussions with an exhorta- 
tion: if we succeed in helping Shakspere to give some insight into human 
nature, we may safely leave the moral to apply itself. 

Poetry 

The cultivating of the appreciation of the poetry of the dramas is 
perhaps the most difficult task of all, for here awkward handling or mechanical 
analysis may easily defeat the end in view. The old fashion of picking out 
and labeling figures of speech has happily disappeared. The best and safest 
method, if the teacher has the gift, is good reading aloud. This alone will 
bring out the melody, and but little comment need be added to characterize 
it and draw attention to its particular fitness to the mood or the occasion. 

In most classes some one will be likely to raise the point that in real 
life people seldom talk poetry and never talk verse ; and, without attempting 
too much, an elementary lesson can be taught on the necessity for conven- 
tions in art, and on the effect of meter in heightening emotional effect. 
Almost every pupil will perceive the advantage that Shakspere 's verse has 
over a prose paraphrase of it, and this perception is the chief thing. 

The idea of the atmosphere of a play is not beyond the grasp of high 
school pupils, but it must be presented mainly by concrete examples rather 



A SHAKSPERE FESTIVAL 63 

than by any attempt at abstract definition. But once attention has been 
drawn to the contrast between the atmosphere of Macbeth and Twelfth 
Night, or of Henry V and A Midsummer -Night's Bream, the discussion of 
how this sense of atmosphere is produced will tend to sharpen perception. 
Thus a class may be brought round to find in Mercutio's speech on Queen 
Mab something more than a detachable purple passage, and in the quarrel 
of the servants in the first scene of the same play more than a series of 
poor puns. 

Thought 

In speaking of the ethical aspects of characterization I have already 
touched on one of the most important problems relating to the thought in 
a play. The great risk here is that of producing the impression that Shaks- 
pere was primarily interested in moral maxims, and wrote his plays to 
inculcate them. Simple language can be found to drive home the fact that 
it was life in the concrete that interested him, that he searched for a good 
story, and, when he found it, sought to present it as effectively as possible 
on the stage, and elaborated his characters so that what they had to do 
in the story should seem natural and plausible. But in the course of this 
elaboration he had constantly to imply moral judgments; and in modifying 
the action for purposes of plausibility or effectiveness he constantly 
embodied universal truths. These judgments and truths can be fairly 
elicited without doing violence to the dramas as works of art, though here, 
as elsewhere, it is both safer and more fruitful to do this by means of 
questioning than by lecturing. In those cases where the author himself puts 
generalizations into the mouths of his characters, as in the speech of 
Theseus on the poet, or that of Hamlet on the art of the theater, nothing is 
needed but to make sure that the language is understood, and to point out 
its relation to the context. 

In all this I have said nothing of the matters which are usually most 
prominent in the apparatus supplied in school editions of the plays — 
language, sources, date, and place in literary history. 

The matter of language is, of course, of great importance. The student 
must know what the lines mean, or our whole structure is without foundation. 
But there is an immense difference between, on the one hand, even a rigorous 
extraction of the precise meaning and flavor of the words for the purpose 
of following the thought and of getting at the various interests we have 
been discussing, and, on the other hand, using the lines of Shakspere as an 
excuse for a study of etymology, or grammar, or prosody. This second 
alternative is much easier than teaching Shakspere, and will always be 
resorted to by the kind of teacher who cannot rise above ' ' hearing lessons. ' ' 
It is important that an edition for schools should explain succinctly all 
rare and archaic expressions, chiefly in order that this part of the work need 
not be done in class. 

As for the date, that is a matter of slight significance until the stu- 



64 A SHAKSPERE FESTIVAL 

dent becomes interested in Shakespere's development as a whole; and the 
technical argument by which the dates of the plays have been approximately 
fixed is out of place in a school. The sources are of a more real interest ; 
but it is best to ignore this question entirely until it arises, as it is bound 
to do, in the course of discussion, after interest has been aroused in the 
play itself. Then a full account of Shakspere 's material, and, if possible, 
the reading of the whole of his original, may well be employed to bring out 
the significance of his changes. The main value of knowing the source of 
a Shaksperean play is in being able to observe when and why he did not 
follow it. Certainly it is not worth while to burden a pupil's memory with 
the mere name of an obscure Italian of whom he has never heard, unless 
we are to go farther and make this name significant. On the other hand, 
few things illuminate such a play as Julius Ccesar so much as a comparison 
with North's Plutarch with a view to noting how Shakspere handled it. 

The question of how much literary history should be taught in schools 
is a separate problem which we are not called on to solve here. If an out- 
line of the whole course of the history of English literature is given in a 
school, it is a simple matter to place the play under discussion in its 
proper period. If not, a short preliminary talk, or the reading of a good 
introduction should suffice. The important thing is that matters of this kind, 
valuable enough in their own way, should not seduce us from our proper 
task when we undertake to teach Shakspere. 

For, after all, to teach Shakspere is the greatest privilege and should be 
the greatest joy in the professional life of a teacher of English. If he 
does not feel it to be so, there is only one piece of advice to give him — 
Don't. 



[Professor Neilson's essay is published in a separate 
pamphlet. It will be supplied, free of charge, to teachers 
of English upon request.] 



ICake Ettglialj flllaastrs 

General Editor 
LINDSAY TODD DAMON, A.B. 

Professor of 
English Literature and Rhetoric in Brown University 



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